Skip to main content

Full text of "Radio Revue (Dec 1929-Mar 1930)"

See other formats

Pass TKqSIQ 

Book . /? 7£ 


Scanned from the collections of 
The Library of Congress 


Packard Campus 

for Audio Visual Conservation 

Motion Picture and Television Reading Room 

Recorded Sound Reference Center 



In This Issue 

What is the 



Rudy Vallee's 


"Main Street 

Sketches " 


Radio Record 

Amos V Andy 
Radio's First 
Comic Strip 

Air Personality! 

Other Features 


i^i niaa uou miant to read 

The Tragedy of Neglected Gums 

Cast of Characters : 
Your Dentist and You 

you: "My gums are responsible for this 
visit, doctor. I'm anxious about them." 

d.d.s.:" What's the matter?" 

you: "Well, sometimes they're tender when 
I brush my teeth. And once in a ivhile they 
bleed a little. But my teeth seem to be all 
right. Just how serious is a thing like thisl" 

d.d.s. :"Probably nothing to bother 
about, with a healthy mouth like 
yours. But, just the same, I've seen 
people with white and flawless teeth 
get into serious trouble with their 

you: "That's what worries me. Pyorrhea 
— gingivitis — trench mouth — all those hor- 
rible-sounding things! Just a month ago a 
friend of i?iine had to have seven teeth 
■pulled out. 

d.d.s.: "Yes, such things can happen. 
Not long ago a patient came to me 
with badly inflamed gums. I x-rayed 
them and found the infection had spread 
so far that eight teeth had to go. Some 
of them were perfectly sound teeth, 

you: {After a pause) "I was reading a 
dentifrice advertisement . . . about food. 

d.d.s.: "Soft food? Yes, that's to blame 
for most of the trouble. You see, our 
gums get no exercise from the soft, 
creamy foods we eat. Circulation lags 
and weak spots develop on the gum 
walls. That's how these troubles begin. 
If you lived on rough, coarse fare your 
gums would hardly need attention." 

you: "But, doctor, I can't take up a diet of 

73 West Street, New York, N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to cover 
partly the cost of packing and mailing. 



City Stale 

c 1929 

•«-«-«-««-e-«-«-*-«-«-*-«-«-«-«-'i-««-c-<s c-c-z-e-s 

raw roots and hardtack. People would 
think I'd suddenly gone mad."- 

d.d.s.: "No need to change your diet. 
But you can give your gums the stimu- 
lation they need. Massage or brush 
them twice a day when you brush 
your teeth. And one other suggestion: 
use Ipana Tooth Paste. It's a scientific, 
modern dentifrice, and it contains 
special ingredients that stimulate the 
gums and help prevent infection." 


n imaginary dialog? An imaginary 
"you"? Admittedly, but the action is 
real. It is drawn from life — from real 
tragedies and near-tragedies enacted 
every day in every city of the land! 

And if dentists recommend Ipana, as 
thousands of them do, it is because it is 
good for the gums as well as for the 
teeth. Under its continual use, the 
teeth are gleaming white, the gums 
firm and healthy. For Ipana contains 
ziratol, a recognized hemostatic and 
antiseptic well known to dentists for 
its tonic effects upon gum tissue. 

Don't wait for "pink tooth brush" 
to appear before you start with Ipana. 
The coupon brings you a sample which 
will quickly prove Ipana's pleasant 
taste and cleaning power. 

But, to know all of Ipana's good ef- 
fects, it is far better to go to your near- 
est druggist and get a large tube. After 
you have used its hundred brushings 
you will know its benefits to the health 
of your gums as well as your teeth. 

an-*»»3»-s^r- »-a-»«-»-»-:e-s-R-3-»-*-2-s-:&-3^-^-» 

NOV 26 1929 ^ 

©C1B 50830 




Volume I Number 1 DECEMBER, 1929 


Cover Design: Rudy Vallee , . . . By Theodore G. Auge 

Rudy Vallee's First Leading Lady (Photograph) 2 

What Is the Secret of Rudy Vallee's Success? 3 

Sound Your "A" (Photographs) 6 

Amos 'n' Andy, Radio's First Comic Strip By P. H. W. Dixon 7 

Main Street Sketches Set Radio Record for Applause Mail By Bruce Gray 9 

If Radio Is To Survive, It Must "Hitch Its Wagon to a Star". . . By K. Trcnholm 12 

A Sonnet to the Instrument International By Alice Kemscn 14 

Brings Charm of Old Spain to Radio (Photograph) 15 

Dale Wimbrow Whittles 16 

Philco Hour Revives Favorite Light Operas of the Past By Henry M. Nccly 17 

Philco's Diminutive Prima Donna (Photograph) 19 

Wanted: Air Personality By Allen Haglund 21 

Westinghouse Salute Introduces New Type of Program . .. . . 23 

Glorifying the American Girl's Voice (Photographs) 24 

Static From the Studios 26 

A Glimpse "Behind the Mike" During the Palmolive Hour By Herbert Dci/ns 27 

Mr. Average Fan Confesses that He Is a "Low Brow" ... By Average Fan 30 

Crowned Radio's Queen of Beauty .... (Photograph) 33 

Philadelphia Orchestra Succumbs to Lure of Radio . By Willie Perceval-Monger 3 5 

Ether Etchings 37 

Program Notes 39 

Editorials: Radio Revue Makes Its Bow; Radio Censorship Impracticable 40 

Returns from Opera Triumphs Abroad (Photograph) 41 

Radio in the Home (Edited by Mrs. Julian Heath) 42 

Bruce Gray, Editor 

Contributing Editors: 

Allen Haglund H. Raymond Preston 

Mrs. Julian Heath Walter H. Preston 

Willie Perceval-Monger K. Trenholm 

Published monthly by RADIO REVUE INC., Six Harrison Street. New York. N. Y.. H. Ravmond Preston. President: Benjamin F. Rowland, Vice-President- 

"alter H. Preston. Secretary and Treasurer; George Q. Burkett. Advertising Manager. 

-Manuscripts and photographs submitted for publication must be accompanied bv sufficient postage if their return is desired 

Advertising rates will be gladly furnished upon application. Copyright, 1929, )yy Radio. Revue. Inc. ,yAll rights reserved. Printed in U. S. A. 

Subscription Prices: United States, $2; Canada, $2.50; Foreign, $3; Single Copies, 25c 



Rudy Vallee's First Leading Lady 

Anne Franklin [Mrs. Richard O'Connor) Was Recruited from the Ranks of Radio 

VV7HEN Rudy Vallee was engaged to make his first talking picture, 
his leading lady was, appropriately enough, recruited from the ranks 
of radio. Pictured above with her five-year-old son, Jimmie Dick, is 
Mrs. Richard O'Connor, of Dover, N. J. She is secretary to John W. 
Elwood, vice-president of the National Broadcasting Company. Under 
the name of Anne Franklin, she acted opposite Vallee in "Campus Sweet- 

hearts," which was produced by Radio-Keith-Orpheum, in conjunction 
with the R. C. A. Photophone, at the latter's Gramercy Studios in New 
York City. This picture recently won for Mrs. O'Connor the first award 
in a national contest to find the loveliest young mother in America. The 
judges, who unanimously voted her first place in this contest, were John 
Barrymore, Cornelius Vanderbilt, Jr. and F. Scott Fitzgerald. 

DECEMBER, 19 2 9 

What is the SECRET 



Does the reason for 
Rudy's popularity lie 
in his personality or 
his appearance — or is 
his singing the cause 
of his rapid rise? 

He has become a 
national figure and, in 
some respects, almost 
a national problem — 
the joy of the wife, 
the despair of the 
husband, the idol of 
the flapper and the 
envy of the young 

WHAT is this nationwide craze over Rudy Vallee? 
How did it start and what caused it? The mete- 
oric rise of this young orchestra leader, accomplished 
almost entirely through the medium of radio, is the out- 
standing feature of the year in broadcasting circles. 

The hold that radio's first "matinee idol" has on the 
hearts of the women of the country, is truly startling. It 
was his crooning of sentimental ballads over the radio 
that first brought him into the public eye and this same 
suave, seductive manner of singing is now rapidly on its 
way to becoming a national institution. 

His popularity has increased amazingly — at least, among 
the ladies. They swear by him — and the men swear at 
him. Like any widespread craze, Rudy has his detrac- 
tors, as well as his admirers. In many instances, argu- 
ments over Rudy have resulted in a "house divided against 

But the reasons underlying his phenomenal success re- 
main a mystery — even to Mr. Vallee himself, who is at 
once pleased and bewildered at the trick of Fate that has 
carried him from obscurity to a place in the hearts of mil- 
lions of America's flappers and matrons. He has become 


a national figure and, in some respects, almost a national 
problem — the joy of the wife, the despair of the husband, 
the idol of the flapper and the envy of the young man. 

Does the secret of Rudy's success lie in his personality 
or his appearance? Possibly — although there is nothing- 
unusual about this Don Juan of the radio. He is of aver- 
age height, slender, and carries himself well. He is in- 
variably well groomed and exudes a feeling of quiet con- 
fidence. He is of fair complexion, with blue eyes that 
slant slightly downward at the outer corners. He has a 
well-formed head, crowned by a wealth of light, curly 
hair. His appearance is not unlike that of the average 
young college man. 

Further light is shed on 
his personality by John S. 
Young, NBC announcer, 
who was a fellow student 
of Rudy's at Yale. He 
says : "With all the suc- 
cess and good fortune that 
have been showered upon 
him. Rudy remains the 
same unassuming, modest 
and splendid young man 
that I remember on the 
Yale campus. He is mod- 
est to the point of being 
diffident and shy. I believe 
that his success is due to 
the old formula of hard 
work. At least it was made 
without benefit of press 
agent and, best of all, it 
has not spoiled him." 

Is Rudy's singing the 
reason for his rapid rise? 
Possibly so. At the micro- 
phone he is truly a roman- 
tic figure. Faultlessly at- 
tired in evening dress, he pours softly into the radio's 
delicate ear a stream of mellifluous melody. He appears 
to be coaxing, pleading and at the same time adoring 
the invisible one to whom his song is attuned. The bare 
microphone seems strangely cold and unresponsive to his 

\\ hen he is not broadcasting, Rudy sings through a 
small black megaphone that has accompanied him all the 
way from Yale. 

The recent observations of Richard Watts. Jr., feature 
writer of the Xew York Herald-Tribime, on the Vallee 
craze, are interesting. Referring to Rudy as "the Clara 
Bow of the orchestras." Mr. Watts writes: 

"The reason for Mr. Vallee's enormous success has al- 
ways been something of a mystery. True, he offers the 
novelty of being a wistful, rather than a wise-cracking, 
leader, and his calm crooning has a curious way of making 
each woman in the audience think he is singing directly 
to her. Both of these traits have been convincingly ad- 
vanced as an explanation of his success, but the matter 

Studied SaxopJwnc by Mail 

remains puzzling. A commonplace looking young man, 
with a commonplace voice, and a second-rate orchestra, he 
still manages to be the matinee idol of his day." 

One of Mr. YYatts's correspondents summed up the case 
for her hero somewhat devastatingly, when she concluded : 
"No matter how atrocious he seems to the gentlemen 
(and all whom I have encountered have nothing favorable 
to say of this 'male Clara Bow of the orchestras') the 
women like him. They are entitled to like him, because 
it was they who made this lad what he is today. No mat- 
ter if he be on the air, in a short subject or in person, the 
majority of women will continue to worship him." 

"All this being conceded,"' Mr. Watts continues, "it 
might be of assistance to us jealous male outsiders to note 
what the women correspondents have to sav of Mr. 
Vallee's virtues and endeavor to profit thereby. Carefully 
itemized, his admirable qualities are, unless the letters to 
this department are deceptive, in the following" order: 
( 1 ) He is a gentleman ; (2) he is modest ; ( 3 ) he is ador- 
able ; (4) he croons nice sentimental melodies; (5) he is, 
as one correspondent puts it, 'anything but a hardened 
Broadway showman type and, therefore, he was a refresh- 
ing change from the general type of masters of ceremo- 

Something of a Genius 

"The amazing thing about these suddenly admired quali- 
ties is that they are so negative and, hitherto, so com- 
pletely neglected. 'A boyish modesty while taking en- 
cores' ; 'no swell head about him, and if anyone ought t o 
have a swell head, it is he"; 'reserved and quiet in man- 
ner, no hot numbers like the usual band plays over the 
radio' — these attributes, so confidently advanced by his 
fans to explain his success, have somehow never been con- 
sidered in the past as short cuts to popularity, and the 
news that being modest and a gentleman aid in Broad- 
way success, is just a bit overwhelming. When Mr. Vallee 
can make a lack of aggressiveneess and an absence of bia- 
tancy assist rather than handicap him in his chosen occu- 
pation, then maybe he is something of a genius, after all. 

"It i> because the thought that a young man. bringing 
such incredible qualities to Broadway and getting away 
with it. is now overwhelmingly popular so pleases him, 
that it is with deepest regret that this observer confesses 
he is still puzzled by the Vallee success. Gentility and 
modesty and the change from the spirit of the jazz age 
may be admirable things, but it is still difficult to see why 
they should cause the emotional hysteria among the girls 
that Rudy Vallee has aroused. It still seems to me that 
he is a commonplace looking young man, with a common- 
place voice and a second-rate orchestra." 

A later correspondent of Mr. Watts writes of Rudy 
Vallee : 

Too Emotional for Comfort 

"It is quite true that he is idolized and-lauded, for what 
reason no one, apparently, has been able to discover ex- 
cept myself. The reason Rudy Vallee is so popular is 
Rudy Vallee. the name itself. You will note that it is 
nothing more nor less than that of the beloved screen 

DECEMBER, 19 2 9 

star. Rudolph Valentino, all over again. An easy name to 
remember, a pleasant name to say — the ladies love to say 
the name, therefore, they idolize the person to whom it be- 
longs. I defy you to show me where I am wrong." 

"It all goes to suggest," Mr. Watts resumes, "that the 
Vallee problem has grown a bit too emotional, on both 
sides, for comfort. It does suggest, though, that Mr. Val- 
lee's popularity transcends all matters of musical skill, 
technical prowess, looks or orchestral effectiveness. It is 
entirely a matter of emotion. In a word, since women 
adore him and since more women than men go to the 
theatres — he is a smash. Since, however, none of my 
friend's admirers has insisted that he is important as a 
musician, or as a personage, but only as a shy, wistful 
gentleman, who pleases the romantic ladies, this depart- 
ment is willing to consider that a compromise and, after 
expressing its final conviction that his orchestra is second 
rate, let it go at that." 

Let us learn more of the man. Hubert Prior Vallee — 
to give him his full title — was born 27 years ago in Ver- 
mont, but spent the greater part of his life in Westbrook, 
Maine, a paper-mill town of about 10,000 population. 

He is of French-Irish descent. 

He has been musical since childhood. His father owned 
a drug store and wanted Rudy to become a pharmacist, but 
Rudy could not see it that way. 

While in high school he had various jobs to occupy his 
spare time. One of these was as an usher in a motion pic- 
ture theatre. There he became enamored of the clarinet 
in the orchestra and he saved his money until he could 
buy one. He soon learned to play it. Then somebody 
gave him a saxophone and, as the two instruments are 
played almost in the same manner, it took him only about 
a week's time to master the saxophone sufficiently to play 
in an orchestra. To further perfect his art, however, he 
hired a small room in the Westbrook Town Hall at five 
dollars a month, where he could practice without creating 
a public disturbance. 

Heard Rudy Wiedoft Play 

Rudy thought he was progressing quite well with his 
saxophone until one day he heard a Victor record by Rudy 
Wiedoft. the dean of saxophone players. Instantly he 
realized how little he knew about playing his chosen in- 
strument. He became a staunch admirer of Wiedoft. so 
much so that later in college his friends dubbed him 
"Rudy" after the saxophone king. A long correspondence 
followed, culminating in a course of saxophone lessons 
from Wiedoft by mail. 

After completing his high school course. Rudy entered 
the University of Maine. There his skill with the saxo- 
phone quickly brought him into the limelight. He was 
made a member of the Sigma Alpha Epsilon Fraternity 
and was literally snapped up by the college band. 

However, the field for his talents was not wide enough 
there so, after a year, he transferred to Yale. There he 
at once eclipsed all his former triumphs and started a 
new march to fame. He played in the Yale Commons. 
Woolsey Hall, under Les. Ladin, band director, and 

later in the Yale University Band. He was .in great de- 
mand at all the big dances and for two years earned about 
$1,500 a year, at the same time carrying on his college 

Then, in 1924, came an opportunity to play for a year 
in the orchestra of the Savoy Hotel in London, the finest 
organization of its kind in Europe. Rudy accepted and. 
after obtaining leave of absence from Yale for a year, 
went to London. There he met with further success and 
captivated England's smart set with his playing. 

Just before he was to return to America to complete his 
course at Yale. Rudy was invited to teach the Prince of 
Wales to play the saxophone, but declined, as he did not 
care to delay his college work any longer. 

Back at Yale, Rudy's popularity continued to spread 
rapidly. He became leader of the famous Yale Football 
Band and of the college dance orchestras. 

After his graduation, in 1927. Rudy and his band went 
on a vaudeville tour across the country. When it was 
over he played for a while in Boston and led some 'of the 
best orchestras in that city. However, he had his heart 
set on a New York career and, as soon as the opportunity 
presented itself, he set out to conquer Broadway. 

In Xew York, Rudy had no difficulty in obtaining 
work, but he did have trouble in getting the Broadway or- 
chestra leaders to play dance music according to his ideas. 

Favors Simplicity in Dance Music 

Simplicity has always been Rudy's keynote in playing 
dance music. He has never been in favor of the over- 
elaborate dance arrangements that have grown out of the 


The Idol of the Flapper 

early jazz band craze. He wanted to do away with most 
of the brass instruments. He believed that the inherent 
rhythm of a good syncopated melody was sufficient to put 
it over, without any trimmings. 

It was not long before Rudy organized bis own orches- 
tra. In so doing he realized the fulfillment of a dream 
(Continued on page 46) 




/GODFREY LUDLOW, the well known Australian 
^-* violinist, tunes up his trusty fiddle before going 
on the air on WEAF, Sunday afternoon. Too bad 
that television isn't a reality yet, because the girls 
would just love that auburn "permanent" wave of 

FT* HE gentleman above, attired in the 
-*- masquerade costume and playing a 
foreign ukulele, is Sven Von Hall berg. 
Despite his make-up, he directs Echoes of 
the Orient, Sunday evenings, on WEAF. 

TTERE we see a dress rehearsal of "Felines on 
■*"*• the Ivories.'* There doesn't seem to be much 
co-operation, but Kathleen Stewart, popular staff 
pianist of NBC, assures us that the effect is 
wonderful — just what she wants. "It's the cats!" 
says Kathleen. 

DECEMBER, 19 2 9 

Amos 'np Andy 

Radio's First 
Comic Strip 

By P. H. W. DIXON 

AMOS 'n' Andy have made radio history. 
Freeman F. Gosden and Charles J. Correll, creat- 
ors of the two famous radio characters heard every 
night except Sunday over a network of NBC stations, 
have found what dozens of others have been vainly seek- 
ing — the technique of being funny on the air. 

Amos 'n' Andy are funny. The antics of the two black- 
face adventurers, their mishaps with the Open Air Taxi- 
cab Company and the dozens of funny situations in which 
they involve themselves are keeping thousands of listeners 
up later than the customary time for retiring and they are 
not doing it one night a week but for six consecutive 
nights — which, in itself, is another radio record. 

Amos 'n' Andy were born of necessity. Correll and 
Gosden, who previously had made themselves famous on 
the air under the names of "Sam and Henry." decided not 
to renew a contract with the Chicago Tribune, which had 
sponsored the "Sam and Henry" broadcasts. The Tribune 
owned the characters of "Sam and Henry." so the two 
comedians developed "Amos 'n' Andy." Their inspiration 
was a good one for, while "Sam and Henry" were popu- 
lar, the new blackface characterizations were, in the lan- 
guage of vaudeville, wows. Since the two characters 
came into being, a book has been written about them and 
their creators have made numerous tours of the country. 

On the Air Since 192 5 

Correll and Gosden have been on the air since 1925. 
V\ hile they had previous theatrical experience, they had 
never done negro characterizations until they were work- 
ing from radio studios. 

Correll, the "Andy" of the team, was born in Peoria, 
111. He says he was born with a desire to be an actor 
and that the ambition grew with years. As often hap- 
pens, he found himself far removed from the footlights, 
in the business of building houses. Finally he gave up 
construction work and went on the stage. 

Gosden, or "Amos." comes from Virginia. His an- 

*8^* s 

Freeman F. Gosden and 
Charles J. Correll, the 
highest paid radio per- 
formers in America, are 
now on the air at seven 
o'clock every evening ex- 
cept Sunday. 

cestors came from England and for three generations 
lived in Virginia. Freeman was the first Gosden to leave 
the state. He was born in Richmond in 1899 and lived 
there throughout his school years with the exception of 
one year spent at a military school in Atlanta, Georgia. 

He was raised in the customary southern fashion with 
a negro mammy. Gosden's mother took a young negro 
lad into her household, who was raised with Freeman. 
His name was "Snowball," and he has been the inspiration 
for no small percentage of the Amos 'n' Andy episodes. 
Sylvester, the lovable lad in Amos 'n' Andy who helped 
them solve the garage mystery and many other troubles, is 
no other than "Snowball." One can even find "Snowball's" 
traits in Amos, himself. 

Gosden's stage experience began at the age of ten, when 
he won over a skeptical audience by diving into Annette 
Kellerman's tank. When he was but twelve, he assisted 
the great magician, Thurston, by holding a handful of 

Discovered by Alex Robb 

Alex Robb. manager of the Chicago division of the Na- 
tional Broadcasting and Concert Bureau, is credited with 
discovering the talents of Gosden and Correll. the imper- 
sonators of Amos 'n' Andy. 

While managing the production of a home talent min- 



strel show at Richmond, Mr. Robb answered Gosden's re- 
quest for a job with a part as a dogger and end man in 
his presentation. He did so well in the part that Mr. Robb 
gave him a permanent position as his assistant. Correll 
was working for Mr. Robb at the time and when the 
youths met they started rooming together and thus began 
the team now known as "Amos 'n' Andy." 

Thrown together constantly for the next few months, 
the two men discovered that their voices blended and that 
they made a good team. The show went to Chicago and 
eventually closed. Correll and Gosden, "just for the fun 
of it." asked for an audition at Station WEBH in Chi- 
cago. The manager of the station put them on the air, 
but told them there would be no salary for their efforts. 
That was in 1925. 

Their first broadcasts were so 
successful that a contract to 
broadcast from WGN, the Chi- 
cago Tribune station, followed. 
On January 12, 1926, "Sam and 
Henry" made their radio debut. 
Two years later, when the Tri- 
bune contract expired, they went 
to Station WMAQ in Chicago 
and "Amos 'n' Andy" were born 
to the radio world. 

They started their work over 
a national network of NBC sta- 
tions under the sponsorship of 
the Pepsodent Company on the 
night of August 19. 1929. Their 
popularity has steadily increased 
since that time. 

No Time for Temperament 

Concerning" the personalities 
of the pair, Mr. Robb declares, 
"I don't believe these boys ever 
heard of the word 'artistic tem- 
perament.' Every place we went 
when we were appearing on the 
vaudeville circuit, the managers 
always complimented me on their 

workman-like attitude. They don't let anything inter- 
fere with them when they're on the job. With a radio per- 
formance six times a week and with as many as six and 
eight personal appearances during one day on their sched- 
ule, they simply haven't time for temperament." 

Concerning his management of the team, Mr. Robb 
says, "I didn't have to worry about booking appearances 
because, after they became known, there weren't enough 
appearances to go around. All I had to do was select the 
ones we wanted. The hardest part of the business was 
keeping the boys undisturbed while writing their episodes, 
what with hundreds of fans seeking interviews with 

Correll and Gosden aren't quite sure what makes their 
two radio characters so successful. 

"How yo' spell that word 'exaginate,' Andy," 
asks Amos, "wid a 'k' or wid a 's'?" 

"Wait a minute, Amos, wait a minute," replies 
Andy. "Nevah min' exaginate. Chanqc dot word 

to 'lie.' " 

"Maybe it's what they say ... or maybe it's the way 
they say it," Correll said. 

"And probably it is both," Gosden added. 
If there is any secret in their success, it is based on the 
fact that Correll and Gosden have made living characters 
out of the personalities they created. So much so, that 
at times, it would appear, neither they nor the radio audi- 
ence are quite convinced that Amos and Andy do not 
exist. When Amos needs a ring for Ruby Taylor, for 
instance, the sympathetic public sends dozens of rings of 
all sizes and descriptions. And when Andy gets too rough 

with his meeker and milder bud- 
dy, his mail is filled with letters 
warning him to "lay off." 

Follow Fans' Suggestions 

Fortunately for the feelings of 
such fans, the letters do not go 
unheeded. Many of the doings 
of the two characters come as a 
result of some suggestions, made 
either consciously or unconsci- 
ously, by these letter writing en- 

In order to get material for 
their act — and to write a differ- 
ent fifteen minute sketch every 
night is a real job— the two men 
spend much time among Negroes, 
studying their accents and nat- 
ural witticisms and picking up 
ideas for situations. The Open 
Air Taxicab idea is a counterpart 
of a real situation they dis- 
covered in one small city and 
many of their stories or droll 
remarks have been picked up 
in New York's Harlem or in 
the negro section of Chicago. 

So fair and deft have been 
their characterizations of the 
southern Negro transplanted 
to the north that never have 
there been protests from the colored race about the pro- 
grams. In fact, many of their most ardent admirers are 
of the same race as the characters in the radio program. 

Taylor Buckley Leaves NBC 

Taylor Buckley, baritone, who has been with the NBT 
for several years, recently severed his connection with the 
National in order to accept an excellent offer to continue 
with the "Evening in Paris" Hour, which has switched 
from the NBC to the Columbia chain. Mr. Buckley had 
been with the program since its advent on WEAF. His 
place in the Salon Singers has been filled by Edward 
Wolter, baritone. Darl Bethman has replaced him as 
baritone of the Serenaders quartet. William Daniels has 
taken his place in the Ramblers trio. 

DECEMBER, 19 2 9 

Main Street Sketches 


for Applause Mail 


WHEN the spotlight of public approval is sud- 
denly turned in any definite direction, there seems 
always to be a rush among those in the immedi- 
ate vicinity to get their faces "in the picture." This has 
been true of the "Main Street Sketches," which appear 
on Station WOR every Tuesday evening and which, in a 
comparatively short period, have become one of the out- 
standing features of radio. 

Attention was focused on this program, first : because 
it was entirely different from anything that had been 
broadcast up to that time, and secondly: because it had a 
human, homely appeal that was at once humorous and 

Naturally, when this program had gained widespread 
prominence, would-be impresarios rushed from all quar- 
ters and claimed the credit for originating the idea. How- 
ever, Leonard E. L. Cox, who is now program director of 
Station WOR, is the logical candidate for the honor. 
About the best argument to back this assertion is the fact 
that Mr. Cox is still producing the original program every 
week — and it has not lost any of its prestige. 

Sets New Applause Record 

As a matter of fact, the program has set a new high 
mark for other advertising 
programs to shoot at. As 
the result of a single "Main 
Street" broadcast on April 
23, 1929, sponsored by the 
Reid Ice Cream Company, 
that concern has to date re- 
ceived 200,000 letters. This 
is a record that is not like- 
ly soon to be surpassed. 
Furthermore, it is a signifi- 
cant indication of the vast 
audience that this program 
has developed and the wide- 
spread interest that is felt 
in the characters. 

9 V 

V— | 


'" ' *9^^ 


uBr ■ I 

..-ssa'HffiB'' "l^^fc-" ris . 

~dfr?*'~* ^att^i 



■ -', jliij ^tflF^^r" 


! J 

■P 1 

-v. \ 


^K^JO* *'* 

*At ?M 


ttriH ^^HjBi ' wxp* > -i 

•■ Rfti 4ti? w&L 

■ ; -i 

Luke Higgins's Store in Titusville 

For some months prior to the time that the first "Main 
Street" program was put on the air, Mr. Cox had been 
considering the idea and, while it had not been definitely 
formulated in his mind, he had given a great deal of 
thought to it. He had in mind a program dealing with 
real country types, but not the proverbial hicks or rubes. 

One day the late Ann 
Lang, a contralto crooner, 
asked Mr. Cox to listen to 
a program she was going to 

"What is it called?" he 
asked her. 

"The Country Store." 
was the reply. 

Like a flash this suggest- 
ed the long-sought idea that 
he had been thinking about, 
namely, to have the pro- 
gram take place in a typical 
country store. 

Leonard had no occasion 



to use this idea until a short time before Thanksgiving- 
Day, 1927. About that time Charles Gannon, who was 
then in charge of Station YVOR, telephoned Cox and 
asked his help. Mr. Gannon said he had sent out pub- 
licity for a special Thanksgiving Day program, but some- 
thing had gone wrong and he did not have any material 
for the program. 

Discussed Idea at Lunch 

They agreed to meet for lunch and discuss the situation. 
On the way, Mr. Cox met 
George Frame Brown and 
asked him to come along. 
The three finally agreed on 
a program that approxi- 
mated the "Main Street" 
type. Cox then went home 
and pounded out the script 
on his typewriter. It took 
him until the early hours 
of the next morning to 
complete it. 

Up to that time George 
Frame Brown had made a 
reputation chiefly as a 
monologist and, in so do- 
ing, had created several 
distinctive characters, 
among them Ole Olsen, a 
Swede. Cox incorporated 
these characters in his 
script and Brown supplied the dialogue for them. 

The initial program was a huge success and evoked 
much favorable comment. With the approach of Christ- 
mas, it was decided to give another of these presentations. 
Brown immediately suggested calling it "Christmas Eve 
in the Grange Hall," and this title was adopted. The 
same procedure as before was followed in preparing this 
program and again it was a great success. 

By this time the program had caused such a stir in 
radio circles that the officials of YVOR summoned Cox 
and asked him to stage a series of presentations of this 
type. In the meantime Cox had entered the employ of 
L. Bamberger & Co.. owners of WOR, but was not in the 
radio division. However, he agreed to try it and was 
allotted $75 a week to engage talent and stage a weekly 
performance. No provision was made for paying him 
anything extra for writing the script and staging the show. 
The bulk of this amount went to George Frame Brown. 

After some discussion the name of Titusville was coined 
by Cox to represent a typical small country town in 
which the chief event of the day is the arrival of a train 
at the depot. 

Title Has Clung to Program 

Everyone agreed that "Main Street" was the ideal name 
for the program but it was felt, if that name were used. 

Golden Eagle Lodge Boys in Action 

there might be legal difficulties, owing to its being con- 
fused with Sinclair Lewis's book of the same name. So 
Cox finally hit upon the name "Main Street Sketches" 
and, although this title did not meet with general appro- 
bation, it was finally adopted and has clung to the hour 
ever since. 

The program went on the air as a regular feature on the 
first Tuesday evening in 1928 and has appeared practically 
every week since. It now has about 110 performances to 
its credit. 

At one time the program struck a snag when, through a 

misunderstanding, it was 
sold as a commercial fea- 
ture to two different adver- 
tisers at the same time. The 
result was that neither ac- 
count took it, but it has 
since appeared under ijhe 
commercial sponsorship of 
the Reid Ice Cream Com- 
pany and the Merlin Prod- 
ucts Corporation. 

The program received 
reams of newspaper public- 
ity at the time George 
Frame Brown left the cast. 
However, this phase of the 
situation was untangled by 
legal experts and, although 
Brown now produces "Real 
Folks," a similar type of 
program, on the NBC 
chain, he and Cox are still the best of friends. 

Leonard Cox is an interesting study. He is tall and, al- 
though rather slender, is nevertheless wiry and well 
proportioned. He has an abundance of nervous energy 
and is capable of handling a multitude of executive duties 
without any apparent exhaustion. He has had an ex- 
tremely checkered career and has traveled extensively. At 
different times in his life he had been a hobo, a cow- 
puncher, a rancher, a miner, a traveling salesman, an 
aviator and a radio editor. 

Born in British Central Africa 

He was born in Chandi, British Central Africa, where 
his father was Chief Commissioner. All of his family at 
present are serving with His Majesty's forces. At the 
age of eight he was sent to relatives in London to be edu- 
cated and made the long journey from Durban alone. 

After a few weeks in London, Leonard was sent to a 
convent school in Liege, near Antwerp. When he had 
been there only two weeks, his father and mother returned 
from Africa and he was taken out of school. He toured 
Europe with his parents until the outbreak of the Boer 
War. when his father returned to his African post. 

In 1900 the Cox family moved to Canada, migrating to 
an unexplored region in the Rockies, 90 miles from Cal- 
gary. There his father started a ranch. This venture 

DECEMBER, 19 2 9 


Ivalutty Pewitt 

Horace Peters 

Charlie Ellis 

failed, however, and the family then moved to an 
isolated water station on the Southern Pacific 
Railroad between Tehachapi and Bakersfield, 
Calif. There his father pumped water into loco- 
motives as they passed through. 

Later the family moved to Mojave, where 
Leonard took his first job in the gold mines. Un- 
til then he could neither speak nor read English. 
The family conversed only in French. 

After a year Leonard drifted off for himself. 
He arrived in Los Angeles in 1902 and went into 
ranching. His employer was a Basque, who took 
an interest in him and taught him the rudiments 
of English. Leonard later took a job in a book 
store in Los Angeles and studied English at night. 
Two years later he became the yachting editor of 
the Los Angeles Times. This job lasted until 
the McNamara brothers bombed the Times Build- 

He then went back to ranching and wandered 
from California to the lumber camps of Wash- 
ington and Oregon. Later he went into the fish- 
packing business in Alaska. From there he drifted 
back to California and then worked successively 
as a cowboy, wheat thresher and hayer in South- 
ern California, New Mexico and Arizona. 

Studies Telegraphy as Office Boy 

In 1910 he became an office boy for the Com- 
mercial Pacific Cable Company in Honolulu and 
studied telegraphy, when he was not sweeping the 
office or running errands. He subsequently quali- 
fied as an operator and took charge of little sta- 
tions on the Southern Pacific. 

He next returned to San Francisco and got a 
job operating a crane in a ship-building plant. 
Then for a while he waited on the table in a 
Los Angeles restaurant and later became night 
clerk in a hotel there. About this time he became 
acquainted with Ralph Newcomb, a west coast 
aviator, and decided to become a flyer. The two 
barnstormed in an old Curtiss plane from Los 
(Continued on page 48) 

Sadie Westphal 

Spot Haywang 

Dave Kraus 

Fleck Murphy 

Wilbur Higgins 

Sary Higgins 


Luke Higgins 

Emily Snodgrass 

The Cast of "Main Street Sketches 




If Radio Is To Survive 

it M UST 

"Hitch Its Wagon 
To a Star" 



people are as well 
qualified to discuss the development of ra- 
dio broadcasting from the entertainment angle 
as is Miss Trenholm. For over five years she 
has written a daily critical column on radio in 
the "New York Sun" and she has seen the field 
of air amusement grow from its humble begin- 
ning to its place as a necessary part of present- 
day life. 

WITH the expansion of broadcast programs and 
the perfecting technically of receiving apparatus 
it is only natural that the radio artist should step 
jauntily to the center of radio's stage — there to re- 
ceive the applause and acclaim of a "personality starved" 
audience. Yet there has been in the past four years a 
slow, steady fight behind the progress of each artist's 
flight to stardom and to recognition — a fight that has only 
just begun. 

Radio personalities, or "names," were the original link 
between the few scattered fans and the broadcasting stu- 
dios. Back in the days when WJZ occupied a corner of 
the ladies' rest room in a dingy brick building in the old 
Westinghouse plant at Newark, stars of the theatre, the 
musical stage and the concert platform were imported 
as frequently as they could be lured by the weird story 
of having their voices heard many, many miles away with- 
out visible means of transmission — a story which, truth 
to tell, few of them actually believed. 

Billy Burke, Paul Whiteman, the Shannon Four, now 
the Revelers, Mme. Johanna Gadski, Mme. Olga Petrova, 
Charlie Chaplin, Douglas Fairbanks — these were only 
some of the names written etherealy in the early days 
of broadcasting history. And, except for a very limited 

Billy Jones and Ernest Hare, the Erstwhile "Happiness 

Boys" Now Struggling Rather Fruitlessly to Re-establish 

Themselves Under Another Commercial Name 

"budget" for entertainment purposes, these celebrity pro- 
grams cost not one cent in artist fees ! 

Volunteers in Early Days 

Then there was another phase of early radio that dealt 
with its artistry — that of the loyal volunteer entertainer 
who, week in and week out, stood by in the studio, ready 
to "take the air," turn the phonograph handle or do any- 
thing else that might be demanded at the moment. From 
the ranks of these enthusiasts have come many of radio's 
most prominent stars. Trained thoroughly in microphone 
technic, cognizant of every small detail of the development 
of that technic, pioneers themselves in experimenting 
with the transmitted voice, and with a long-established 
contact with their public, these artists have "arrived." 

This, perhaps, is the "pretty" part of the picture — 
"the home-town boy makes good in the big city." There 
is another side, however, one that has come along with 
the ever-increasing competition and one that is not so 
pretty. It is the story of the prevailing injustice in broad- 
casting studio circles in the exploiting of radio "names," 
and classification of artists, not to mention the total lack 
of balance in the pay-roll. 

For two or more years radio interests sotight openly to 
down the tide of "personality appeal" in broadcast enter- 

"Exploit the artist," one broadcaster explained to me 
as recently as 1927, "and you put in his, or her, hand the 
weapon which may mean your destruction. We cannot 
afford to make the mistake the motion picture business 
did in creating public demand for individual artists. We 
have not the money to pay huge salaries, nor will the re- 
turns coming in justify the experiment." 

DECEMBER, 19 2 9 


But the gentleman reckoned without the commercial 
sponsor. Paying celebrities unheard-of fees for broad- 
cast recitals started in 1925 with the Atwater Kent series. 
Paying radio artists large fees under contract for fifty- 
two weeks is more recent and is to be directly attributed to 
the commercialism in radio. This, quite naturally, has 
worked a hardship on the less fortunate entertainers, who 
depend on the stations and much smaller fees and who 
contribute ten times as much in actual labor to the radio 
public's enjoyment. The scale is all out of proportion, 
with the result that there is a great deal of discontent 
and unhappiness in artistic ranks. In several cases re- 
cently, artists have changed from one chain to another, in 
an effort to improve their status. 

The advent of the so-called Artists' Bureau, in con- 
junction with chain companies, has helped somewhat to 
promote the cause of the radio artist in arranging personal 
appearance tours or recitals for which the artist collects 
a stipulated fee and pays the Bureau a certain per cent. 
But even so, there are only one or two who have prof- 
ited to any extent by this arrangement. 

The surest method for accumulating wealth via the 
radio route seems still to be through exclusive contract 
with a commercial sponsor. And the surest way that an 
artist may insure himself against discrimination is to de- 
velop an original line and then have it exploited by either 
station or sponsor, as the case may be, with full credit 
to himself. 

Press Agents for Artists 

Recently I have been repeatedly asked by artists for 
an opinion as to the 
practicability of en- 
gaging personal "press 
agents" or publicity 
representatives, irre- 
spective of such 
service as rendered by 
broadcasting compa- 
nies or advertisers. 
Newspaper critics are 
supposed to harbor a 
traditional dislike of 
paid publicity agents. 
Personally, I am of 
the opinion that radio 
artists, more than any 
other group of pub- 
lic entertainers, need 
the press agent and 
the business manager. 

There is an in- 
creasing demand for 
"personality" matter 
on the part of the 
readers of our daily 
newspapers. Maga- 
zines, likewise, are 
more freely than ever 

5". L. Rothafel, Known to Mil- 

llions as "Roxy," the First Radio 

Matinee Idol 

The Record Boys: Frank Kamplain, Al 

Bernard and Sammy Stept, Favorites in the 

Old WJZ Days 

before accepting radio artists as good material for "hu- 
man interest" stories. There is a wide field for popular- 
izing the radio star which has barely been touched upon 

as yet, for the Amer- 
ican people, it has 
been said, must have 
their matinee idols 
upon whom to bestow 
their affections. 

With the growth of 
broadcasting as a 
business, the average 
entertainer, no mat- 
ter how well qualified 
he may be or how 
great may be his art- 
istry from the radio 
viewpoint, is lost in 
the shuffle unless he 
has, in a sense, been 
"radio dramatized." 
Sometimes a catchy 
headline will establish 
him in the minds of 
the listeners over 
night ; sometimes it 
means months of per- 
sistent exploitation. 
The dramatic artist, who is engaged on regular programs, 
may turn the trick by becoming so associated with the 
role he plays each week that he cannot be lost to his 

Announcers' Day is Over 

There can be no stronger example of the 
dramatizing of unseen personalities for the 
artists to follow than that of radio announc- 
ers. These gentlemen, worthy though they 
may be. have too long monopolized the broad- 
casting stage. They are not — when perform- 
ing their announcerial duties — to be regarded 
as radio entertainers in the full sense of the 
term. They are not, it has been shown, time 
and again, even necessary to a large per cent 
of the broadcast programs, except for the 
reading of commercial credits. Yet to them 
has been handed the lion's share of radio's 
laurels in the past — simply because circum- 
stances made it easy for them to exploit them- 
selves or be exploited, while the radio artist, 
neglected as an identity and too modest to pro- 
test his rights, has too often found himself 
nothing but "a voice" that passed into the 

Every story has its hero ; every play its hero- 
ine, every motion picture its star — why, then, 
not radio? Those features that played up the 
personality appeal have gone down in radio 
history as the major attractions of their time. 




There are the never-to-be-forgotten "Gold Dust Twins" ; 
the inimitable "Happiness Boys," who are still struggling 
rather fruitlessly to re-establish themselves under a dif- 
ferent name for commercial 
reasons ; the once-renowned 
"Record Boys," and Vaughn 
De Leath, the "original ra- 
dio girl," who is now a head- 
liner. There is "Roxy," the 
first radio matinee idol and 
all his "Gang," each of whom 
received a precious heritage 
in the form of the repu- 
tation he built for them in 
those early days of broad- 

Few Stars in Radio Now 

Coming down to the 
present, there are only a few 
artists who may be consid- 
ered as having reached the 
point of stardom. Directors 
do not "star" their performers any more than they can 
help and sustaining features are even more lax in this re- 
spect excepting where the Artist's Bureau rights must 


The Gold . Dusi Twins, Harvey Hindermeyer and Earl 
Tuckeniian, Popular WEAF Duo When Radio Was Young 

be considered and then the artist is rarely more than 
identified by name. 

True it is that the element of time plays an important 

part in the artist's loss of 
exploitation. The air has 
few moments to spend in 
building up reputations in 
this way under the present 
system of arranging and 
presenting entertainment, 
which is why I believe the 
publicity expert could be of 
service, both to the artist and 
to the public . . . not the 
press agent who creates 
stories, but the trained spe- 
cialist who discovers stories. 
And to go a step further in 
drawing the picture of the 
day when radio artists shall 
have come into their own, I 
would include the oft-sug- 
gested "Equity" association, 
for their own protection. If 
radio is to survive as an art, it must do so by "hitch- 
ing its wagon to a star" as all other amusement lines have 
done before it ! 

A Sonnet 

to the 

I nstrument International 


Flung to the four winds of the earth 

Music and song, comedy and drama, 

Rhythm and melody, words of precious worth, 

Picked up from space by urbanist or farmer. 

Awaiting the touch of an armchair explorer — 

Tubes, magic wires and batteries unending, 

Out from the box of this up-to-date Pandora 

Things good, things bad, continually are sending, 

From here to anywhere, from pole to pole, 

Think of the marvel, the glory and the wonder 

Of that space-flung voice, that ether-riding soul, 

Adapted by man from out Jehovah's thunder! 

Composed of elements intangible, still in embryo, 
The latest implement of man that men call — radio. 

DECEMBER, 19 2 9 


Brings Charm of Old Spain to Radio 

Countess Albania Soprano, Came to Microphone from Behind the Footlights 

\ LTHOUGH she is a native of Barcelona, Countess Olga Medolago 
•^*- Albani was educated in this country, at the Academy of Saint 
Joseph, Brentwood-in-the-Pines, Long Island. She has been in 
radio for more than a year and now is heard regularly in her own 
program every Sunday night on Station WEAF. She came to radio 
from the stage, where she appeared in the original production of 

The New Moon, a Broadway success of last winter. A dramatic 
actress of acknowledged ability, she has just completed the first 
of a series of two-reel sound pictures, with songs and dialogue 
entirely in Spanish. The story, entitled La Omga Vuelta Mariposa, 
was her own composition. It was produced by the Sono-Art Film 
Company, for distribution in Spain, Italy and Latin America. 





DALE WIMBROW apparently has the same 
penchant for whittling that ex-president Coolidge 
has. The only difference is that Dale's work with the 
knife is doubly productive. In the first place, he turns 
out, for his friends, handsome walking sticks that are the 
envy of all who see them and secondly, the whittling stim- 
ulates an already fertile brain into greater activity. 

We happened upon him the other day when he was 
working on a walking stick that he was making for Wil- 
liam E. Paley, president of the Columbia Broadcasting 
System. He had started with a solid piece of mahogany, 
two inches square and about three and a half feet long. 
He had already whittled it down to the proportions of an 
ordinary stout walking stick. 

However, in design this was no ordinary stick. It fol- 
lowed a definite motif. The head represented an ibis, or 
snake-eating bird of South America, that was lately thrust 
into public notice by the crossword puzzle craze. A 
vicious-looking snake was coiled around the shaft. 

Dale, who is well known as an entertainer and as 
master of ceremonies on the La Palina Smoker, on WABC 
every Wednesday evening at 9 :30, has made these sticks 
for, among others, Paul Whiteman, Rudy Vallee, Ben 
Bernie and Vincent Lopez. 

Has Hit Song That Is Flop 

While whittling, he fell to cogitating on the irony of the 
song-writing business. In the past he has written such 

Columbia Chain Artist 

Carves Out Bits 

of Radio's Past 

song successes as "That's What I Call Heaven" and 
"Think of Me Thinking of You," and now he says he is 
in the peculiar predicament of having a real hit song that 
is actually a flop. 

Here's how he explains it. This song, "Every Moon's 
a Honeymoon," has been programmed by some of the big- 
gest orchestras on the air, of their own volition, which in- 
dicates that they realized its possibilities. It has received 
a number of excellent plugs but, according to Dale, the 
girls behind the music store counters are stocking only the 
moving picture theme songs and are pushing them, with 
the result that other songs, such as his, receive little or no 

As the skilled knife continued its artistic moulding, 
Dale reminisced a bit. He has been in radio broadcasting 
since the days when WJZ was located in the Aeolian 
Building on West 42nd Street, New York. He wrote the 
first program that was broadcast as the Bonnie Laddies 
and performed it, along with Wilfred Glenn, the bass who 
later became prominently identified with the Revelers. 

About that time Dale also was responsible for the Del- 
Mar- Va Hour, which extolled the beauties of the Eastern 
Shore peninsula. The name is a combination of the names 
of the three states that make up the peninsula, Delaware, 
Maryland and Virginia. Dale travelled from one county 
seat to the other, selling the idea. He wrote a different 
theme song for each county and 
worked tirelessly to put over his 
plan for radio advertising. 

A Great Opportunity Lost 

"That was a case where a 
great opportunity went aglim- 
mering," said Dale, in that char- 
acteristic drawling manner, 
which immediately stamps him 
as a native of the East- 
ern Shore. "We tried 
one type of program 
similar to the present 
'Main Street Sketch- 
es' which are now so 
(Turn to page 44) 

&. =. 

DECEMBER, 19 2 9 


Philco Hour Revives 
Favorite Light Operas 

of the Past 



MEM'RIES, mem'ries, mem'ries of you . . . ." 
The strains of the Philco Hour's signature 
song die away as the loyal company of stars, who have 
sung their way into the hearts of radio's millions, move 
back from the Station_WJZ microphone. Harold San- 
ford, director of the -orchestra, mops his brow for the 
last time that evening and the musicians start to put 
away their instruments. 

A little lady, her hair tinged with gray, rushes up, em- 
braces Jessica Dragonette, soprano star of the hour, and 
exclaims enthusiastically, for the fifth or sixth time in a 
year, "My child, you were wonderful, as you always are." 
This little lady has come to be one pi the regular visitors 
at the Philco Hour, which is now two years old and is 
regarded by radio editors and unbiased critics as one of 
the outstanding programs on'the air. 

The little lady's interest in* the_ Philco Hour of The- 
atre Memories, which is sponsored by the Philadelphia 
Storage Battery Company, is shared by thousands in 
every city of any size in the United States, judging by the 
fan mail that I receive every week. The one question, 
that is asked again and again by those who are interested 
in the success which has come to our radio productions, 
is: "What is the secret of the Philco Hour's success?" 

Radio Stimulated Revivals 

My answer invariably is: "The hour itself." By that, 
I mean the music. The Victor Herbert operettas and the 
others we have chosen are, I believe, nationally popular. 
As proof of this we can cite the fact that Broadway is 
now seeing revivals of "Mile. Modiste," "Naughty Mari- 
etta" and other light operas, which we on the Philco 
Hour have helped to keep alive. It has been conceded 
that the radio performances of these operettas stimulated 



"Philco's Old Stager" 

Henry M. Neely is acknoivled ged to be one 
of the oustanding showmen of radio. He was 
born and bred in Philadelphia, and has 
travelled all over the world. He became in- 
terested in radio when it was in its infancy 
and has followed its development closely. 

He entered radio production work several 
years ago, after a long period of active news- 
paper work, in the course of which he edited 
a radio magazine. He has been responsible 
for programs like the Philco Hour, For ban's 
Song Shop, Maxwell House Coffee Hour, 
Physical Culture Hour and Eversharp Foun- 
tain Pen Hour. 

Last June he was married to Miss Gertrude 
M. Jones, tvho for some time had been his 
partner in a successful flower amf fruit farm 
of 30 acres at Beverly, N. J. Thtr Neelys now 
live on this farm and Mr. Neely commutes to 
New York regularly to do his radio work. 





Harold Sanford, Conductor 

public interest to the point where the stage revivals 
were deemed advisable. 

The Philco Hour originated two years ago, as the result 
of a request made by James M. Skinner, vice-president 
and general 
manager of the 
phia Storage 
Battery C o m - 
pany. and Sayre 
M. Rams- 
dell, sales' pro- 
motion manager 
of the same con- 
cern. They 
suggested that I, 
as a pioneer in 
radio work, as- 
semble a "The- 
atre Memories" 
program and put 
iit on the air. I 
had broadcasted 
when radio was 
in its infancy. I 
knew Harold 
Sanford well and he was my first choice as musical di- 
rector. That choice has been more than justified by the 
widespread popularity of the orchestral part of the hour. 

At that time, Jessica Dragonette was playing the lead 
in "The Student Prince," but before long she succumbed 
to the lure of the microphone. Colin O'More, 
who had sung in light opera on Broadway 
with success, came with us as tenor and leading 
man. The other members of the original com- 
pany, who are still with us, include Muriel 
Wilson, soprano ; Mary Hopple, contralto, and 
Charles Robinson, bass. Later additions to the 
cast were: Kitty O'Neill, mezzo-soprano; Wal- 
ter Preston, baritone, and Henry Shope, tenor. 

Calls for Greatest Accuracy 

There is a great deal more to the staging 
of a radio program like ours than the average 
person realizes. It is no hit-or-miss process, 
but one that calls for the greatest accuracy. 
First we select the light opera we are to 
broadcast. Then Mr. Sanford, with the com- 
plete musical score, and I, with the prompt 
book, go over the entire show together. We 
choose the oustanding musical numbers and 
those that will fit in best with our general plan 
for the program. 

Next we time the numbers provisionally. 
Then I go through the prompt book and pick out the bits 
of dialogue that will tell our story to the best advantage. 
The next step is to prepare my continuity, supplying those 
details of the story that are not provided by the dialogue. 

We usually have three rehearsals for each show. At 
the first rehearsal with piano, the singers familiarize them- 
selves with the music. During the process I obtain an- 
other timing of the musical numbers by means of a stop 

At the second rehearsal, I again time the mu- 
sical numbers, dialogue and continuity carefully. 
By that time I am able to judge quite accu- 
rately whether or not we will be able to com- 
plete our show in the allotted time. This is 
most essential, because our program much fin- 
ish right on the minute in order not to en- 
croach on the one that follows. 

Entire Show Rehearsed 


At the final, or "dress," rehearsal, we put 
on the entire show with the orchestra. Again 
I time the program and make any cuts or addi- 
tions that are necessary. At this rehearsal, 
careful attention is paid to the microphone set- 
up, in order to get the proper balance of or- 
chestra and singers, and also to produce the 
desired sound effects. 

In view of the necessity for everything being 
timed so accurately, a slight miscalculation on 
my part can create havoc, as I have learned several times, 
to my discomfiture. But, all in all, it is highly attractive 
work and offers a rich reward in the satisfaction derived 
from staging a good performance. 

The Philco Hour has been privileged to present the 

premier radio 
performances of 
such popular 
light operas as 
"The Vagabond 
King," "T h e 
Student Prince," 
Time," ''My 
Maryland" and 
"Maytime." A 
number of oth- 
ers, equally as 
interesting, are 
now being pre- 
pared for the 

in our 
prit de 
that is truly re- 
markable for a 
group of artists. 
Each one works with the sole aim of putting on a good 
show. If any member of the cast sees a chance to help 
one of the others, either in the singing or dialogue, he 
does so. Such suggestions are accepted in the proper 

m es- 


Colin O'More, Leading Man 


DECEMBER, 19 2 9 



Philco's Diminutive Prima Donna 

Jessica Dragonette, Soprano, Deserted Broadway to Sing Light Opera on Air 

'T 1 HE leading lady of the Philco Hour was born in Calcutta. Her 
■*■ early life w^as spent travelling with her parents. At the age 
of six years, she entered Georgian Court, a convent school at 
Lakewood, N. J. After graduating, she came to New York and 
studied singing with Estelle Liebling. At that time The Miracle 
was being cast. The only solo part in the production was open. 

Jessica tried as a contralto, but without success. Later she -went 
back and sang in her natural soprano voice and 'was given the 
part. Subsequently she played opposite Howard Marsh in The 
Student Prince. Then one day Harold Sanford asked her to sing 
on the air. Since then her -work on the Philco Hour has placed 
her in the front rank of radio artists. 



Zero Hour in the studio, with the Philco stars and orches- 
tra ready for action. Harold Sanford, left, stands with 
baton upraised, ready to call for the opening number. Next 
in order among the stars are Henry M. Neely; Colin O'Morc, 
tenor and leading man; Jessica Dragonctte, soprano ; Charles 
Robinson, bass; Emily Woolley, soprano; Mary Hopple, 
contralto; Kitty O'Neill, mezzo-soprano; Muriel Wilson, 

soprano; Walter Preston, baritone; Dan Gridley, tenor. 

spirit and do much to improve the general effectiveness of 
the program. 

Unquestionably the individual personalities of the 
Philco singers have endeared them to the radio public. 
Our leading 
lady, dainty 
Jessica, is en- 
dowed with 
an abundance 
of charm. 
She takes her 
work serious- 
ly and applies 
herself d i 1 i - 
gently to the 
task of por- 
traying a new 
character in 
each light 
opera. She 
is a convent- 
bred girl. Her 
hobby is 
h o r s e b ack 

O'More, our 
leading man, 

has had a wide and varied experience. After meeting 
with great success on the concert stage, he turned to 
grand opera and light opera, and repeated his former 
triumphs. He originally studied to be a concert pianist, 
but was compelled to give it up, 
owing to an injury to his wrist. 
He is an unusually fine musician, 
a splendid actor and a fine fellow 
in the bargain. His hobby is 
cooking. The meals he prepares 
are legend among his fellow- 

Typical Irish Beauty 

Kitty O'Neill, who is Mrs. 
Colin O'More in private life, has 
a beautiful mezzo-soprano voice. 
She came into the cast directly 
from the' musical comedy stage. 
She is a typical Irish beauty, with 
more than an ample share of the 
wit that made that race famous. 

Mary Hopple, contralto, made 
her reputation chiefly in the con- 
cent and oratorio fields. She 
originally came from Pennsyl- 
vania. She possesses a lovely voice of truly remarkable 
range and is extremely easy to look at. Her favorite 
recreation is swimming. 

Muriel Wilson's limpid Soprano voice broadcasts beau- 

tifully. She came to radio from a position in the United 
States Internal Revenue Department, Custom House, 
New York City. She is exceedingly jolly and has a "bit 
o' the divil" in her eye. 

In Radio Since Early Days 

Charles Robinson, bass, has 
been in broadcasting since the 
early days of Station WEAF. 
He originally came from San 
Francisco and has had a wide 
range of experience. 

Walter Preston, baritone, was 
for ten years the news editor of 
a national trade paper, "The 
Produce News." He started 
singing as a side line, but it has 
long since supplanted the news- 
paper work as his main occupa- 
tion. He has written the lyrics 
for four popular songs that have 
been published and three radio 
signature songs, including 
"Slumber On." 

Henry Shope, tenor, is the 
latest addition to the cast. Orig- 
inally a Pennsylvania boy, he 
tried a number of fields of endeavor. For a while he 
studied the violin and eventually took up singing. He has 
appeared in musical comedy. His voice is a lyric tenor 
that can park on the high C's with the utmost facility. 

Last, but 
by no means 
least, is Har- 
old Sanford. 
For 18 years 
he was the 
bosom friend 
and right- 
hand man of 
the beloved 
Victor Her- 
bert. Harold 
knows Her- 
bert's music 
better than 
anybody else 
does and is 
never hap- 
pier than 
when he is 
conducting a 
light opera. 
He is universally admired for his ability and charming 
personality. He originally came from Massachusetts 
and was a violinist for years. 

(Continued on page 44) 

A wedding in the Philco family — Here are members of 
the Philco cast at the recent wedding of Henry M. Neely, at 
Beverly, N. J. Left to right: Harold Sanford, conductor; 
Kitty O'Neill, mezzo-soprano ; Jessica Dragonette, soprano; 
Colin O'More, tenor; Mrs. Henry M. Neely; Mr. Neely; 
Muriel Wilson, soprano; Walter Preston, baritone; Mary 
Hopple, contralto; Charles Robinson, bass. 

DECEMBER, 19 2 9 


Wanted: Air 



IT is a sad but true commentary on 
radio broadcasting that, at times, 
the sounds that emanate from the 
loud speakers in our homes are, dis- 
turbing as it is to relate, far from beautiful — in fact, 
often they are quite terrible. And in these days of per- 
fect reception the fault must be laid, not to a loose grid- 
leak or to a variable condenser that refuses either to 
condense or to be variable, but to the artist who has thus 
stirred the ether waves. 

Who among us amateur warblers and bathroom tenors 
has not exclaimed "Great Scott, if that singer gets paid 
for that, I ought to be Radio's Sweetheart"? And again, 
"Say, if that Sapolio Soprano has a voice, then I'm going 
up to that studio and show them a Galli-Curci or two." 

Well, why don't you? I say, why don't you? You 
will be surprised to find that, instead of being summarily 
dismissed and landing on your ear outside, you will be 
given a thorough and courteous audition. Moreover, 
mirabile dictu, you will find yourself, in a day or two, 
actually singing before a microphone. It is true that 
your voice will not be going forth into the highways and 
byways of the world, but you will be receiving a fair 
audition such as you sought ; your song will be transmitted 
to an adjoining room where a competent, well-salaried 
judge will be listening to give you the rating you deserve. 

Enough Aspirants Already 

It is to be hoped, of course, that these few words will 
not send everyone with the semblance of a voice scurrying 
to the broadcasting studios in search of vocal stardom via 
the air. The crowding would make the situation intoler- 
able, and the splendid disposition of the big broadcasting 
concerns to get the best of talent, even if it is latent, would 
have to undergo some change. Besides, the crowd of 
aspirants is already large enough. 

One of the most popular stations in the East estimates 
that it gives, on an average, thirty auditions a day. To do 
this it employs several well-trained men, accomplished 
musicians themselves, and maintains a whole outfit of 
efficient clerks, with their inevitable filing cabinets, to keep 
the records. Three piano accompanists do almost nothing 

VAUGHN DE LEATH, the popular 
contralto crooner, now an exclusive 
Firestone artiste, is the outstanding pos- 
sessor of Air Personality. Known for 
many years as the Radio Girl, she has 
sung to a worldwide audience and is 
credited with originating her particular 
style of entertainment. She must be 
heard to be appreciated. 



— <* 

aspiring singers. 
Altogether, the 
sum thus ex- 
pended during 
a year would 
keep any grand 
opera prima 
donna in the 
best of style and 
temper for a 
long, long time 
— no small sum, 
you must admit. 

So, although at times the singers on the air may sound 
fairly awful, it is a fact that the broadcasting concerns 
are spending real money to improve the calibre of their 
artists. Some of the most popular radio singers today 
are the products of this liberal system of auditions. Of 
course, a good many had made their reputations long be- 
fore seeking to broadcast, but a large number had never 
trilled a note outside of their church or shower bath be- 
fort starting their climb to fame, wave-length by wave- 

Search Continues Unabated 

The search for a beautiful voice or a distinctive radio 
personality continues day after day. There are on file in 
this big broadcasting station of which we speak the names 
of twelve hundred singers who have received a rating of 
eighty per cent or over. Those who have failed to rate 
that high are not listed, and the number of unsuccessful 
aspirants is fully double that of those who have achieved 
a place in the files. 

As for most of them, a place in the files is all that they 
do achieve. Only the best are put on the air. When one 
stops to consider that there are some 180 tenors on record 
in this one station, the difficulty of breaking in and super- 



seding the flock of warblers there is all too apparent. 

To the many unsuccessful applicants who inquire, often 
with exasperation, why no radio bookings have resulted 
after their auditions, this very tactful and usually very 
true answer is given : "Sorry, but you haven't a radio 
voice." To which there is absolutely no comeback. One 
either has, or one hasn't, a "radio voice," and just what it 
is, few can sav. 


Those who pass 
ment upon singers 
certain qualifications in 
mind which . are discover- 
able in the true "radio 
voice." It must have what 
is technically known as 
"frontal resonance" — that 
is, the tone must be pro- 
duced in the forepart of the 
mouth rather than in the 
back of the throat. It is 
this factor which diminish- 
es the effectiveness on the 
air of some of the great 
opera singers and even 
makes them failures as 
radio performers. 

Introducing "Mike Fright" 

Diction is a very impor- 
tant factor; it must be 
crisp and incisive, but not 
labored. Then there is 
poise, usually (though not 
always) bred of confidence 

but, at any rate, an indispensable requisite. It is curious 
to note that singers of long operatic and theatrical experi- 
ence, who have faced vast audiences with perfect equa- 
nimity, have completely succumbed to "mike fright," at 
the sight of the round little metal demon known as the 

Singing off pitch is a damning trait to the aspirant to 
radio honors. It is in this particular that most of the 
would-be stars fail. It is true that the fault is shared by 
some of the outstanding singers in the land today, who 
seem to hold to their laurels and gather new wreaths de- 
spite their tendency to produce a flat when a natural is 
plainly wanted, but, when the fault is shown by the radio 
novice, it counts heavily against him. 

Singing off pitch, if it does not signify a lack of 
artistry, or faulty vocal technique, means that the aspirant 
is deficient in the quality of repose ; it is a very good sign 
that, when the inevitable disturbances of a radio studio 
arise, the singer will not have the calm control and 
dynamic concentration to override the commotion and do 
a perfect job. Discomposure registers all to easily on the 
microphone, and disturbances in the studio are really the 
rule rather than the exception. The experienced radio 
performer must be able to maintain absolute repose, even 

The Bathroom Tenor Takes the Air 

though the production man may be madly gesticulating 
instructions from the control room. 

Others lack the ability to read music at sight and, at the 
same time, to sing it. This is not always a completely 

prohibitive fault ; Frank Munn. 
or Paul Oliver as he is widely 
known, could read scarcely a 
note when he started. The over- 
whelming" beauty of his voice. 
however, compensated for his 
lack of musical education; but 
very few, alas, have the Munn 

These and the basic elements 
of artistry, which, thank good- 
ness, will not be discussed in this 
article, are the outstanding 
qualifications sought in the 
novice, but they make, by no 
means, the complete formula 
for radio stardom. The for- 
mula, to tell the truth, is a 
good deal of a secret. No one 
yet can quite say why, for in- 
stance, the Broadway star is 
often so thoroughly over- 
shadowed on the radio by 
some less known singer, whose 
only experience has been gath- 
ered in a short career of per- 
forming before the micro- 
phone. There is some in-born 
quality capable of holding an 
invisible audience, perhaps 
best termed "air personality," 
which makes the one successful, while the other, star that 
he might be before a visible audience, so dismally fails 
to click. 

Nor can it be laid to the fact that the one does and the 
other does not have the proper microphone technique. 
The audition committees discount this completely ; they 
realize that technique can be attained by study and proper 
direction, but the other thing, that will o' the wisp "air 
personality," that little subtle something which in radio, 
probably more than in other fields, distinguishes the mere 
singer from the embryonic star, that is the quality that 
is so painstakingly sought. 

Few Have Elusive Quality 

So rare indeed is this quality that only one out of every 
hundred aspirants ever makes a radio appearance, and the 
fraction who become stars is, of course, much smaller. 

However, the hordes who seek radio fame are not so 
convinced of the rarity of "air personality" — in fact, they 
are all quite sure they have it. One man, for instance, 
came all the way from Australia, because, so he said, 
Australia could not appreciate his great gift. Unfortu- 
(Continued on page 46} 

DECEMBER, 19 2 9 


Westinghouse Salute 


New Type 

0/ Program 

T B Kjl ; ■ 






Cesare Sodero, the Master Musical Hand Behind 
the Production 

ANEW form of radio entertainment was intro- 
duced recently by the Westinghouse Electric and 
Manufacturing Company of East Pittsburgh, Pa., which 
inaugurated a series of programs over the NBC chain. 
These programs have been lauded in the press as a tri- 
umph for the radio industry, a long step forward in im- 
aginative and beautiful program building, and a standard 
for the future. 

This reviewer had the pleasure of seeing and hearing 
the initial boradcast, the 
Tribute to Steel, and his 
hat is off to all the clever 
ladies and gentlemen in- 
volved in that production. 
It was radio entertainment 
of the highest type, afford- 
ing pleasure alike to audi- 
ences and to the artists tak- 
ing part. 

One hardly knows where 
to start with the praise, but 
Cesare Sodero, the maes- 
tro of the NBC studios, 
composed and arranged a 
splendid score for the fea- 
ture, and directed with a 
patient and unremitting 

hand a huge orchestra, reinforced by an imposing vocal 
element. At the close of the first performance this shy, 
diffident Italian gentleman was cheered literally off his 
feet for four minutes by the stop watch. Only those 
privileged to hear his choral and orchestral fortissimo, 
sweeping down to an almost imperceptible pianissimo can 
realize how well he earned all the glory showered upon 

Edward Hale Bierstadt, playwright and NBC continu- 
ity writer, was responsible for the "book," and he, too, 
wore his laurels modestly. Here was a good idea, well 
developed, adequately produced, and sufficiently rehearsed. 

Distribution of the Praise 

Let us take a look at the other important people in the 
work. We refer to them "in the order of their appear- 
ance." That elegant, scholarly actor, Pedro de Cordoba, 
the narrator, on "voice," of the spoken interludes ; Joseph 
Bell, stage director of the production; Gerard Chatfield, 
program supervisor ; Keith McLeod, musical supervisor. 
{Continued on page 47) 

A First Night on the Radio. The Entire Cast, Focal Ensemble and Orchestra at the 
Premiere of the Westinghouse Salute in the NBC's Beautiful Cathedral Studio 





Muriel's voice is ideally adapted to 
radio. Her clear, limpid tones 

broadcast beautifully. Heard with 
-National Light Opera, Philco Hour, 
National Grand Opera, Federation 
Hymn Sing. (Photo by Apeda) 

MARY HOPPLE, Contralto, NBC — 
Mary's voice is unusual in its range, 
beauty and power. She sings with 
National Light Opera, Enna Jettick 
Melodies, Philco Hour and Ar 
strong Quakers. (Photo by G. Mail- 

HARRIET LEE, Contralto, CBS — If you 
have ever listened to the Ceco Couriers 
program on Station WABC, you will re- 
member this deep contralto voice, with 
its soothing propensities. (Photo by G. 

GLADYS SWARTHOUT, Mezzo-soprano 
(center) — One of the new faces at the 
Met this season. Has already sung over 
radio. Formerly sang with Chicago 
Civic Opera and at Ravinia Park. (Photo 
by Torres) 

NBC — Paula's rich voice is the kind that 
makes you stop short to listen. Heard 
with National Grand Opera, Salon 
Singers and Dr. Cad man's Hour. (Photo 
by Times Wide World) 

DECEMBER, 19 2 9 


American Girls VOICE 

native of St. Louis. Was ingenue in 
Municipal Opera there and later soloist 
with St. Louis Symphony. Heard with 
Salon Singers and on Dr. Cadman's 
Hour. (Photo by Apeda) 

SANTA BIONDA, Soprano (center) — A 
newcomer at the Met this season. Was 
born in Palermo, Italy, and lives in 
New Haven, Conn. Recently was guest 
soloist on At water Kent Hour. (Photo 
by Mishkin) 

A perfect type of Latin beauty. Before 
entering radio field, she made a repu- 
tation in the movies. Now singing oper- 
atic roles for sound pictures. (Photo 
by G. Maillard-Kesslere) 



1Y/1TIC rccM the XtLDICX 

Leslie Joy is the jovial founder of 
the NBC Slumber Hour, a feature 
that is still going strong. But that is 
not the point of this joke, if any. 
Stuart Ayers was visiting Leslie, who 
lives in a little red school house in 
Connecticut. It is called "Sea View," 
but it is far from any sea. 

"Why do you call this place 'Sea 
View?' " said Stuart Ayers. 

"Because you get up on the roof to 

'Sea View' can see it?" replied Leslie, 

just like that. 

* * * 

"Well," said Ray Knight, 
production department of NBC, 
"If you want to take a 'Trip to 
Mars,' why not plan-it?" The 
police lieutenant says the slayer 
will go free. 

sfc ^ ^ 

A new magazine, "Voice of Colum- 
bia," edited by E. Wood Gauss and 
intended for advertising agencies and 
those interested in broadcast advertis- 
ing, made its debut with the October 
issue. It will be published monthly by 
the Columbia Broadcasting System. 

The latest Scotch joke came 
to light recently at the NBC 
studios, when an enthusiastic 
Scot telegraphed from Winni- 
peg, Man., congratulating the 
Company on securing the artis- 
tic services of Sir Harry Lauder. 
The telegram was sent collect! 
* * * 

Vic Irwin and his Hollywood or- 
chestra returned to the air over WOR 
recently, when the popular Victor re- 
cording artist opened at the new Holly- 
wood Restaurant, Broadway, between 
48th and 49th Streets. He inaugurated 
his return with a new air signature, at 
present unnamed, written by Benny 
Davis and J. Fred. Coots. The radio 
public is being asked to title the air 

signature. Vic Irwin, since his last 
Manhattan appearance at the Hotel 
Manger, has been featured over the 
Publix Circuit and his band is a Roxy 
stage band. Last summer he played 
at the Woodmanston Inn. 

Evelyn De La Tour, heard each week in 
"Show Folks" skits over the Columbia Broad- 
casting System, has become convinced that 
truth is stranger than fiction. A few weeks 
ago she played the part of Marie Lavelle, one 
of the principal characters in a heart-interest 
story. After the broadcast a telephone call 
was received at Station WABC from some 
one who demanded that Marie Lavelle be 
summoned to the phone. The telephone op- 


erator informed the caller that there was no 
such party in the studio. 

After quite an argument -with the in- 
sistant fan, Evelyn De La Toui, who had 
been playing the part of Marie Lavelle, was 
asked to speak to the telephone caller. She 
did so, and was accused of being, not Evelyn 
De La Tour, but in reality a Marie Lavelle, 
who had left home some fifteen years ago to 
go upon the stage, and who had never been 
heard from since. The caller insisted that 
she recognized the voice and the name, and 
could not be fooled. The odd part of it all 
is that the name "Marie Lavelle" was strict- 
ly imaginative, and came from the mind of 
Dave Elman, the writer of the "Show Folks" 

^ ^ ^ 

When the all-star special program 
was broadcast by the NBC for Com- 
mander Byrd and his Antarctic Expe- 
dition recently, Frank Luther, the 
wise-cracking tenor, announced that 
he was scheduled to sing a solo. 

"What will it be, Frank?" he was 

"Byrd Songs at Eventide," was the 

* * * 

Phil Maher of Station WABC, who 
has had many years of experience in 
every kind of show business, suggested 
the recent expose of stage hypnotism, 
which was the basis for an interesting 
radio dramatization. In addition to 

being the father of the idea, he wrote 
from memory the exact speeches of in- 
troduction which were used years ago 
by one of the best-known hypnotists in 
the theatrical game. 

* * * 

Alois Havrilla was so completely 
saturated with the subject matter of 
his program a few weeks ago that he 
inadvertently announced that the Mo- 
biloil Hour would feature an "Oil" — 
Friml program. When Alois came out 
of the emergency hospital two weeks 
later — all the bandsmen had thrown 
their instruments at him — he said he 
felt much better, except for three 
broken ribs and a bad scalp wound. 

Lady Luck has visited Helen Nu- 
gent, leaving her card in the form of 
a prize winning automobile. While 
in Cleveland four or five months ago, 
Helen bought a raffle ticket at a 
church charity event. A telegram 
from her mother recently announced 
that she held the winning ticket and 
that the automobile would be deliv- 
ered to her in New York. Miss Nu- 
gent is known in radio over the CBS 
system and co-stars with Ben Alley 
in various broadcasts. 

Franklyn Baur, "The Voice of Fire- 
stone" arrived at the NBC recently for 
his weekly broadcast in a brand new 
automobile with a specially designed 
body, which incorporated several of 
Franklyn's own ideas. The car was 
equipped with special white rubber 
tires — one guess is allowed for the 
name of their maker. 

* * * 

The latest authenticated evi- 
dence of economies practiced by 
the Scotch deals with a kilted 
gentleman, who purchased a sec- 
ond-hand radio set for thirty- 
five shillings in the Old Coun- 
( Continued from page 34) 

DECEMBER, 19 2 9 


A Glimpse "Behind the Mike" 

During the 



NINE-THIRTY Wednesday night. To millions of 
radio fans from coast to coast, it means a pleasant 
circle about the family loudspeaker for another Palm- 
olive hour. 

To ushers and page boys at the New York studios of 
the National Broadcasting Company, it means another 
problem in higher mathematics, to make the Cathedral 
Studio's 400 chairs accommodate twice that number of ap- 
plicants — all eager to 
catch a glimpse of 
the nationally fa- 
mous Palmolive 
entertainers actually 
working before the 

For visitors in 
New York have 
learned the way to 
NBC's secluded stu- 
dios, high above 
Fifth Avenue near 
Central Park. Every 
night brings new 
crowds of the curi- 
ous. But the great- 
est number by far. 
week after week, 
storms the sound- 
proof doors pre- 
cisely at 9:30 on 
Wednesday night. 

Those, who are 

Alfred Cheney Johnston. 

Olive Palmer (Virginia Rea) Exclusive 
Palmolive Soprano 

The Inimitable Revelers. Standing, left to right, Elliot Sham, 
baritone; James Melton, top tenor; Wilfred Glenn, bass. Seated, 
left to right, Frank Black, accompanist and arranger; Lewis James, 

second tenor 

fortunate enough to be among the first 400 applicants for 

the cards admitting 
them to the studio, 
quietly take their 
places a few min- 
utes before 9 :30. At 
9:29 the doors are 
closed and stalwart 
guards take their po- 
sitions before even- 

Guards Not Mere 

The guards are 
not mere ornaments. 
Theirs is the task of 
quieting the crowd 
of tardy arrivals and 
those who failed to 
obtain admissions in 
advance. A signal 
flashes. 9:30. "On 
the air !" Under no 




circumstances may the door be opened now. The mur- 
mur in the corridor subsides as the disappointed gather 
at the windows. All they see, however, is row upon row 
of smiling faces. These are the early ones, now watch- 
ing intently some scene invisible to those outside. 

Inside, the scene is colorful and bright, as gay lights 
concealed within 
the studio diffuse a 
warm glow around 
the crowd of per- 
formers and or- 
chestra. Just a few 
inches beyond the 
first row of audi- 
ence seats is the di- 
rector's stand, with 
a full symphony 
ranged before it. 
Between the di- 
rector's desk and 
the semi-circle of 
first violins is an 
open space. Here 
are two micro- 
phones, one to 
catch the music of 
the orchestra, the 
other for vocal 
solos and novelty 

Standing at the 
announcer's microphone on a platform at the far end is 
Phillips Carlin, master of ceremonies for the Palmolive 
Hour. As the second hand of a clock ticks 9:30, he lifts 
his arm — and Director Gustave Haenschen, his back to 
the audience, raises his baton. 

"Good as a play," whispers one woman to her neighbor. 
A uniformed usher immediately tiptoes over and, with 
finger on lips, cautions her to silence. The slightest sound 
is apt to record on the sensitive microphones now con- 
nected with millions of American homes from the At- 
lantic to the Pacific. 

Fast Pace Must Be Maintained 

The baton in Haenschen's fingers swoops down, and a 
surge of melody from the orchestra swings into a march- 
ing rhythm. This creates immediately a sensation of 
speed and movement, setting a pace that must not lag for 
the next sixty minutes. 

Out in the corridors, the disappointed ones wonder 
what causes a general grin on the faces of seatholders 
inside. The grin is caused by the antics of Director 
Haenschen, who by this time has dropped his baton and 
is now leading with elbows, knees and feet, as well as his 

Haenschen cuts a graceful figure on the stand. He is 
tall and curly-haired, with shoulders that are a joy to his 

Director Gus Haenschen 
board his yacht, which is 




tailor. He combines an air of authority with irrepres- 
sible boyishness, the latter heightened by his "Charleston" 
and "Black Bottom"- technique in leading the orchestra. 

Before the orchestra has finished, Paul Oliver and Olive 
Palmer, two of the highest-salaried singers on the air, 
take their places before the microphone for their first 
duet. They stand quietly while the orchestra ends the 
overture, and wait for Phillips Carlin to introduce their 
opening contribution. Carlin drops his arm in signal, 
and the two bring their lips within a few inches of the 
microphone as Haenschen again lifts his hand over the 
orchestra in accompaniment. 

Audience in Studio Amazed 

The visible audience in the studio is amazed. Why, 
they can hardly hear the two familiar voices above the 
music of the orchestra ! How is it that the voices sound 
so clearly over the air, with the orchestra but a dim ac- 
companiment ? The answer lies on the secret of dis- 
tances from the microphone, and in a set of black knobs 
on the mixing panel to be seen in the "monitor board" 

Meanwhile, all eyes are glued on the faces of the solo- 
ists. Paul Oliver, garbed in neat evening clothes, 
stands as imperturbably as a Brahmin at the mouth- 
piece of the mike, his face a perfect mask as he puts all 
the expression and color into his voice alone — that rich 
tenor comparable only to McCormack's. He holds one 
hand cupped over his ear. 

But look ! Olive Palmer too holds her hand in the 
same curious way, although her body sways more in 
time and her features reflect the expressions carried 
through the ether by her voice. What mean these 
strange gestures ? It is a professional trick of radio — 
one that found its origin in the phonograph recording 
laboratories. It enables the soloist to sing softly close 
to a microphone, and still hear his own voice above the 
louder orchestra behind. 

As the last notes of the duet fade away, Phillips Carlin 
again switches in from his microphone in the corner. 
While he tells what beauty experts say about "that 
schoolgirl complexion," the star singers move away from 

the central space to make 
way for four young men in 
dinner jackets and gleaming, 
starched shirtfronts. There 
is a rustle in the audience. 
It recognizes that quartet, 
which is none other than the 
famous Revelers, recently re- 
turned from fresh triumphs 

Frank Black at the Piano 

Before the Revelers begin 

their inimitable close har- 

Frank Black mony, all four glance toward 

DECEMBER, 19 2 9 



The Palmolive Ensemble in Rehearsal. Director Haenschen is seated to the left. Frank Black is at the piano. 
Olive Palmer is seated front center. Paul Oliver (Frank Mnnn) tenor, is standing to the left in the rear 

the piano, which is placed within arm's length of their 
place. This calls attention to the pianist, who has gone 
unnoticed until now. The dark Mephistophelean coun- 
tenance and angular figure proclaim him Frank Black,, 
who makes the Reveler's special arrangements, and, in 
addition, conducts orchestras on other programs. Before 
this program is over. Director Haenschen will consult him 
for sound musical advice on how to handle a number for 
which the time has grown too short. 

But the Revelers begin, and they are again the center 
of all eyes. A glance ranges across the four faces, assur- 
ing the beholder that they are there in person — Lewis 
James and Jimmie Melton, tenors ; Elliott Shaw, baritone, 
and the only Wilfred Glenn, basso profundo. This sum- 
mer Paris audiences yelled for nine encores, made them 
take fourteen curtain calls — and then cried for "Speech!" 
France likes the Revelers more every year. 

As the quartet completes its number and moves away 
from the mike. Director "Gus" steps down from the dais. 
Simultaneously a dozen hand-picked jazzmen in the big 
orchestra stand up and bring their instruments closer. 
Haenschen now stands in profile towards the audience. 
All the feminine members lean forward in their chairs. 

Then Haenschen starts his men on a madcap tune by 
means of a series of contortionist waves. His whole body 
moves now, and he is never on more than one foot at a 
time. Is he skipping rope or leading the jazz group? 
Listen to the sounds, and receive an answer. A wide grin 
wreaths his own youthful face as he remounts the stand 
at the end of the number. 

Olive Palmer Sings a Solo 

Next a solo by Olive Palmer, displaying the coloratura 
ability which was lost to grand opera when radio gained a 
star. Another concert selection by the orchestra — or per- 
haps a symphonic fragment. Then the most curious as- 
sortment of all steps before the microphone. 

Andy Sannella, virtuoso of many instruments, stands 
closest to the mike with a Hawaiian guitar slung across 
his chest. Behind him stands Murray Kellner, no longer 
the dignified first violin but now a jazz fiddler. Nearby is 
Larry Abbott, "one of the sweetest alto saxes in New 
York," — -but that is no saxophone he holds. It is an or- 
dinary comb, with tissue paper wrapped over the side 
nearest his lips. At a nod from Haenschen they go into 
action, this weird assortment, — and what action. Sannella 
leaps like a jumping jack with the guitar on his chest, 
making sounds for which no guitar was intended. But 
this music can not be described. A gleam lights the faces 
of the audience as they see the solution of the puzzling 
music they had heard in other Palmolive Hours. They 
knew it was somewhat different but they couldn't tell why 
or how. 

And so the minutes fly, with a rapid succession of solos 
and combination vocal and instrumental groups that main- 
tain the swift pace set by the opening rhythmic selection. 
A grand finale by the whole company brings the hour to 
its climax and finish — and there is a deathly pause while 
Phillips Carlin makes the closing announcement. He 
(Continued on page 48) 



Mr. Average Fan 



that He is a 

"Low Brow 



LIKE millions of others, throughout the country, I 
am a radio fan. I have been one for the past five 
years, when I bought my first set, and now I am 
just as interested and enthusiastic about radio as I was 
then. I still derive just as much pleasure from roaming 
around the dials, trying to bring in some out-of-town 
station, and I still get just as thoroughly disgusted as I 
did years ago when, after listening to what I fondly im- 
agined was a distant station, I heard some one say "This 
is Station WAAT, of the Hotel Plaza, Jersey City." 

There are, of course, all kinds of radio fans. There is 
the one who likes to tear a machine apart and rebuild it 
again. There is the one who has his house full of sets 
he has built. He tells you the most wonderful stories 
about the distant stations he has brought in with these 
sets, right through WEAF, WJZ and WOR. Strangely 
enough these miracles always happen when he is alone 
and never when his friends, attracted by his yarns, gather 
to hear his wonderful machine. 

There there is the 
other kind, probably 
the most numerous of 
the lot : the one who 
knows nothing about 
how or why the 
blooming thing oper- 
ates and cares just as 
little. All he wants is 
to get the programs as 
clearly and consist- 
ently as possible. He 
knows what he wants 
and does not care how 
it comes, just so he 
gets it. Amphfica- The Ipana Troubadors , one of my 

Unblushingly, I confess that I like jazz. 

Big symphony orchestras, playing Bach er 
some of the other so-called old masters, bore me 

I have had more enjoyment out of the trou- 
bles of Amos '«' Andy than anything else on the 

As for announcers, I used to get my greatest 
thrill from listening to Norman Brokenshire. 

Graham McNamee and Ted Husing are my 
favorite sports announcers. 

I will tune off anything else at any time to 
listen to Jimmy Walker. 

H. V. Kaltenborn has a snappy way of talk- 
ing that holds my interest. 

Formerly favorites of mine, Roxy and Vin- 
cent Lopez lately have become too sweet to be 

Radio has kept me at home more than ever 

It is difficult to predict what will happen 
when — and if — television becomes as universal 
"""V as radio now is. S^ 

tion, radio frequency and all those highly technical terms 
are so much Greek to him. When he hears them he looks 
wise, pretends to take them all in, and promptly forgets 
all about them until he has trouble, and then he calls in 
an expert to get him out of his trouble. 

Mechanics of Radio a Mystery 

This latter class is the one to which I belong. The 
mechanics of a radio, how and why sounds emanating 
from some place thousands of miles away can be brought 
to your home and you can hear them as clearly as if they 
were coming from the same room, always have been to 
me — and probably always will be — one of the world's 
deepest mysteries. Experts have tried to explain it, giv- 
ing me a lot of fine-sounding talk about sound waves 

being sent through the air 
and gathered up by your 
machine, through the trans- 
former and converted into 
music or speech, but they 
have never made me thor- 
oughly understand it. All 
1 do know is that they come 
in with more or less 
clarity, depending upon 
weather conditions and the 
set you have. 

Personally, I know the 
difference between a screw- 
-Foto Topics driver, a monkey wrench 
Favorite Dance Orchestras ;il1r ' a hammer. However, 

DECEMBER, 19 2 9 



H. V. Kaltenborn, to ivhose Talks on 
Current Events I Listen Every Monday 
Evening at 6:30 on the Columbia Chain 

the practical application of any of these useful imple- 
ments is as much a mystery to me as how and why the 
radio operates. I know what purposes they should be 
used for, but how to do it baf- 
fles me completely. The re- 
sult is that when my radio 
stops radioing I pull up the 
lid, fool around with the tubes 
and other gadgets inside and 
then promptly telephone my 
radio man to come over and 
fix the thing. 

Possibly I may be dumber 
mechanically than the average, 
but at the same time I am 
willing to gamble that there 
are thousands of radio own- 
ers like myself. Otherwise, 
there would be no reason for 
the little radio repair shops 
that dot nearly every block of 
any business section in the 
metropolis. And it has been 
my experience that some of 
these so-called experts do not 
always know what they are 
doing or why. They gener- 
ally find out whether you 
know anything about a radio 

or not and, if you don't, that makes it just so much easier 
for them. They look wise, fill you full of technical in- 
formation, take the machine away, 
days, and then come back with the 
They never forget the bill. 

Has Listened for Five Years 

My introduction to the radio took 
place about five years ago. I had heard 
it talked about indefinitely, but had not 
paid much attention to it. One evening 
I happened to be in a little shop near 
home. I was attracted by the fact that 
my son was going to sing that night — 
without pay, of course. While we had 
been listening to him for years at home, 
his mother wanted to hear him over the 
air. Possibly I was more attracted by the 
fact that Will Rogers, for whom I have 
always had a sneaking fancy, was going 
to talk. 

We heard both, with interruptions due 
to static and other troubles, and three 
days later we were the proud owners of 
a radio set, which really worked. We 
have never been without one since and 
never will be again, if we can help it. 

It was a five-tube set, with three dials and a horn. It 
made what sounded to us then as the grandest music im- 
aginable, although there was frequently a lot of humming 


and, during the summer nights, a large and undue amount 
of static. Never will I forget the thrills I received from 
that machine, crude though it was in comparison with the 
fine pieces of mechanism they produce these 
days. Night after night I would sit up 
twirling the dials and bringing in all varieties 
of noises and occasionally a distant station. 
The strange part of that machine was that 
it could bring in stations that were in a di- 
rect western line with New York but it had 
difficulty in catching the extreme northern 
of southern stations. 

The first time I brought in WOW of 
Omaha, the farthest west my set had ever 
reached — I was willing to swear that I had 
the finest set in existence and that radio 
was one of the world's wonders. After 
midnight I frequently could tune in WCCO, 
Minneapolis ; WREO, Lansing, Mich. ; the 
Chicago Stations ; the Fleetwood Hotel, at 
Miami Beach. Fla.. and good old WSB at 
Atlanta, the station that "covers Georgia 
like a blanket." 

keep it for a 
machine and a 


DX Craze Dies Out 

The DX craze died with me. as it does 
with every radio owner. New York sta- 
tions began to multiply with such rapidity 
that it soon became almost an impossibility 
to tune through them with any degree of success, unless 
you wanted to sit up until the wee sma' hours and doing 
the latter is not always conducive to maritial happiness. 
There is no doubt that we New Yorkers get the cream 

has become common 
knowledge, but to 
learn the real truth 
of this, one need 

of the radio broadcasts. This fact 

to Los 
When I 
there, I 

go out-of 

took me 
got out 

was told 

what fine programs 
they had on the 
Coast. I listened 
in and heard a 
miscellaneous 1 o t 
of junk over 
the air, interspersed 
at least every five 
minutes with the 
most blatant kind 
of advertising. This 
would not be toler- 
ated, much less lis- 
tened to, at home. After a while, I found out that about 
the only programs on the Coast worth listening to were 
those which came over the NBC or the Columbia chain. 

Foto Topics 

Ted Hnsing, One of My Favorite Sports An- 
nouncers, Giving a Word Picture of a Football 



Practically the same conditions, as far as I could 
learn, prevailed in many of the large cities with the pos- 
sible exception of Chicago, and most of the small ones. 
Chicago has a few fine stations like WGN and WMAQ 
and broadcasts some excellent programs, but even they 
depend a great deal on the chain programs broadcast from 
New York. Some people in New York may complain 
once in a while about the programs they get but, if they 
would travel over the country and listen to some of the 
small stations, they would be thank- 
ful they lived in New York. 

Tastes in Programs Differ 

As to what constitutes a good 
broadcasting program tastes differ as 
greatly as do individuals. Unblush- 
ingly I confess that I like jazz. I 
have set forth this liking more or 
less loudly at times and, as a result, 
have been called many things, the 
mildest of which is "low brow." If 
liking lively, tuneful music is low 
brow, I am all of that and more. 
Big symphony orchestras, playing 
Bach or some of the other so-called 
old masters, bore me excessively. 
They are my particular abomination 
and they cannot hold me for five 
minutes. When they come on, I tune 
off, if possible, to Helen Kane, 
Rudy Vallee or Paul Whiteman. 

Everyone, of course, has his or 
her favorite performer, announcer 
and program. I derive more pleas- 
ure from Amos 'n' Andy, the Main 
Street Sketches, the Clicquot Eski- 
mos, Ipana Troubadors and Eddie 
Cantor than I do from a dozen sym- 
phony orchestras or a lot of high brow opera singers. To 
me the latter are a total loss. If I never heard them 
again, it would be too soon. Possibly I am like George 
Moran, of Moran and Mack, "even if it was good, I 
wouldn't like it." 

Personally, I have had more enjoyment out of the trou- 
bles of Amos, Andy, Madam Queen and the Kingfish, 
not forgetting Flossie White, the snappy "steenographer," 
than anything else on the radio. The way Andy lords it 
over Amos and the manner in which the latter balks occa- 
sionally, furnish me with a real thrill which I cannot get 
from high brow music. 

Brokenshire a Favorite 

As for announcers, I used to get my greatest thrill from 
listening to Norman Brokenshire. He seemed, more than 
many of the others, to be spontaneous and his voice came 
over well. Graham McNamee always seems to me to be 
vitally interested in what he is doing and he imparts this 
enthusiasm to his hearers. He and Ted Husing are my 
favorite sports announcers, although I believe the latter 


Norman Brokenshire, ' fhc Announcer 

Whose Spontaneity Used to Give Me My 

Biggest Thrill 

is better, if you are interested in a really technical account 
of the event being broadcast. Milton Cross, Lewis Reid 
and the late John B. Daniels are other favorites. David 
Ross, of WABC has a deep, sonorous voice, but seems 
to take himself quite seriously. There are a few an- 
nouncers whom I abominate, but, again quoting George 
Moran, "why bring that up?" 

There may be more perfect radio voices than those of 
Mayor James J. Walker, H. V. Kaltenborn and John B. 
Kennedy, associate editor of Col- 
liers', but I have never heard them. I 
will tune off anything else at any 
time to listen to Jimmy Walker. He 
knows just what to say, has a beauti- 
ful speaking voice and never talks 
over your head. John B. Kennedy 
does not talk often or too long at a 
time, but he does say what he has to 
say well. The only possible objection 
I can fiqd to him is his "thank you, 
Curt Peterson, friends of Collier's" 
every Sunday evening when Mr. 
Peterson introduces him to the radio 
audience. Kaltenborn has a wide 
knowledge of world affairs, and a 
snappy way of talking, that holds my 

Too Sweet to Be Natural 

When I first started to listen to 
the radio, my favorites were Roxy 
and Vincent Lopez. However, lately 
I have sickened of both of them. 
They seem to be too sweet to be nat- 
ural. Mary and Bob have always at- 
tracted me, and, then again, there is 
the girl who plays the principal role 
in the Collier hour. She seems nat- 
ural and unaffected. This may be a pose, but it is a con- 
vincing one. 

In my case the radio has kept me at home more than 
ever before. In the pre-radio days the movies attracted 
me four or five nights a week. There was no place to go 
and little else to do. Now, seemingly, there is something 
on the air nearly every night that I really cannot miss. As 
a result, the movies are neglected. It is possible to get all 
the entertainment one wants at home, amusement that is 
more varied and certainly much cheaper. It is difficult to 
predict what will happen when — and if — television be- 
comes as universal as radio now is. Possibly then, when 
we can see as well as hear, it will become impossible to 
drag us away from home, even when business calls. 

"Sax" Wizard Goes Over the CBS 

Merle Johnston, the wizard of the saxophone, left the 
NBC fold recently to go under the Columbia banner. In 
making the change, he is said to have given up seven 
commercial accounts at the National. He already is di- 
rector of two hours on the CBS. 

DECEMBER, 19 2 9 


Crowned Radio's Queen of Beauty 

Olive Shea, of Station WABC, Chosen from i6; Entrants in Nationwide Contest 

' 1 1 HE committee of judges that conferred the title of "Miss Radio" 
■*- for 1929 on Miss Shea consisted of Jess Hawley, of Chicago, 
chairman; Florenz Ziegfeld; Victor Frisch, sculptor, and McClel- 
land Barclay, artist, both of New York, and Morris Metcalf, of 
Springfield, Mass. Miss Shea was born in New York City eighteen 
years ago. After completing elementary school, she attended Our 

Lady of Lourdes Convent for four years. Later she applied to 
the Columbia chain for an audition and passed 'with high honors. 
Since then she has taken part in many of its big hours. She is 
five feet, three inches tall and weighs 110 pounds. Her hair is 
golden brown and her eyes are blue. Her favorite sports are 
swimming, riding and tennis. 



/TATIC prcm the JtUDIO/ 

(Continued from page 26) 
try. He made repeated com- 
plaints to the dealer that his 
newest purchase was most un- 
satisfactory. The dealer called 
to see him at his cottage. The 
set was found in good order, re- 
ception was good, and air pro- 
grams were coming in merrily 

"But, mon, I canna see to 
read wi' them small electric 
lights inside!" 

^ ^ * 

The Columbia Broadcasting System 
has added WHP of the Pennsylvania 
Broadcasting Company, Harrisburg, 
Pa., to its network. WHP is a 500 
watt station operating on 1430 kilo- 
cycles. This station is known as "The 
Radio Voice of Central Pennsylva- 
nia." W. S. McCachren is president 
of the P. B. C. 

"Old Salts," now spending their 
declining years in the various sea- 
men's missions in and about the met- 
ropolitan area, have adopted the 
"Half Seas Over" program on WOR 
each Saturday night as their very 
own, Letters have reached the sta- 
tion demanding to know the name of 
the director of the program. As a 
matter of fact, Postley Sinclair, who 
writes the continuity for the feature, 
is a comparatively young man "some- 
where in his thirties," and has never 
been aboard a full rigger in his life 
— nor has he even been to sea. 
* * * 

Leslie Joy and Bill Rainey, both of 
NBC, recently had their pictures 
drawn by "Jolly Bill" Steinke of "Jol- 
ly Bill and Jane." They were pub- 
lished in the Evening World Radio 
Magazine. The result is that Bill 
Rainey is now wearing bright blue 
shirts and Les Joy parts his hair in the 
middle and is cultivating an English 
accent. That is just what publicity 

does for two good hard-boiled scouts 
— they go Arabian right away. We 
don't know what this paragraph will 
do to them, but we fear the worst ! 

* * * 

"I say, have you heard that lovely 
song, 'By the Bend of the River,' by 
Clara Edwards?" asked Count John 
de Jara Almonte, a gentleman of vast 
importance and personality in the NBC 

"No, but I have heard a lovelier 
one," replied Phillips Carlin, of the 
same company. "It is called 'By the 
Bend of the Elbow,' by Al, the Bar- 

Edwin Whitney and Dariel Jones, 
production experts for NBC, are joint 
discoverers of the zvorld's loudest 
voice. During recent auditions at the 
studios a feminine applicant boasted: 
"All my friends say my voice is un- 
usually good for radio. Why, the last 
time I broadcast, they heard my voice 
in Valparaiso, Chile." 

* * * 

Charlie Speeri one of the continuity 
writers of the CBS, has a plan that 
brings absolute precision of descrip- 
tive writing in musical programs. 
When he is given a continuity for one 
of the symphony concerts, he gets the 
records of the symphony and plays 
them on a portable phonograph which 


he has in his office. He supplants the 
music he hears with references from 
the Columbia library. He believes that 
in this manner alone may the true feel- 
ing of a musical work be portrayed. 
The young writer has all of the sym- 
phonies that have been recorded, as 
well as the entire recording of the 
Niebelungen Ring as it was presented 

in ( iermany. 

* * * 

Vaughn de Leath, originator of the 
crooning type of singing now so pop- 
ular, recently returned to New York 

from her home, "The Hitching Post," 
in Connecticut. She has moved into 
an apartment on Fifty-fifth Street, 
jut around the corner from the NBC 
studios, from which she broadcasts 

What is believed to be the shortest 
"applause letter" on record was re- 
ceived recently by the National Broad- 
casting Company. On a letterhead the 
program title "The Family Goes 
Abroad" was written. Below it was a 
rubber stamped "O. K.' with the ini- 
tials of the head of the firm mentioned 
on the letterhead included in the stamp 

Speaking of the Radio Show, as no- 
body was, one of the funniest sights 
we have witnessed in years was 
George Dilworth's bulky octet, 
Messrs. Branch, Shope, Jamison, Ty- 
ler, Bethman, Buckley, Salathiel and 
Cote, trying to get into regulation 
aviator' costumes for the feature 
"Roads of the Sky." After some re- 
lentless struggling, the trousers of 
the costumes were discarded and the 
jackets were stretched with some 
difficulty around the portly tenors 
and basses. The helmets seemed to 
fit all right, and, despite the variety 
of nether garments, a visiting scribe 
was fooled into asking: "Who are 
those aviators?" 

An interesting sequel to this story 
is the fact that, when Maurice Tyler, 
tenor, felt in the pocket of the coat 
he was wearing, he came upon the 
business card of an intimate friend 
of his from Richmond, Va. He is 
till trying to establish the connection. 

Leon Salathiel, NBC basso, recent- 
ly surprised his studio friends by an- 
nouncing his marriage to Miss Betty 
Sickels. It all happened on Leon's va- 
cation. He visited his home town, In- 
(Continued on page 38) 

DECEMBER, 19 2 9 


Philadelphia Orchestra 

Succumbs to Lure of Radio 

First Two Stokowski 

Broadcasts Arouse 

Mixed Emotions 


THE lure of the radio, the persuasive powers of the 
Philco Company, the facilities of the National 
Broadcasting Company, added to its well-known persua- 
sion or, perhaps the relentless march of progress com- 
bined with all of these, brought the genius of Leopold 
Stokowski and his Philadelphia Symphony Orchestra to 
the ether waves for the first time at 5 :30 on Sunday eve- 
ning , October 6, 199. In the judgment of this critic, this 
broadcast marked a great step forward in this ever-chang- 
ing business. 

We do not claim to know what particular factor broke 
down thep resumed aversion of Maestro Stokowski to 
radio broadcasting, but we feel he has done radio and 
its millions of listeners a great service by coming into the 

Stokowski apeared in the joint capacity of conductor 
and announcer of the musical items of his program. While 
he shone in the former capacity, he was extremely brief 
in the latter. Extensive preparations had been made by 
NBC officers, engineers, announcers, and production men, 
the hands of Gerard Chat field and William S. Lynch be- 
ing particularly visible, and over all was felt, rather than 
seen, the uncanny skill of O. B. Hanson in matters tech- 
nical. An old friend, Harry Neely, the "Old Stager" of 
the Philco Hour, introduced both the conductor and Ed- 
ward Davis, president of the sponsoring company. 

The complete program gollows : 

Choral Vorspiel "Wir Glauben all' einen 

Gott" (We All Believe in One God) Bach 

Symphony in G-minor. 

Allegro Molto, Andante, 

Minuet and Trio, Finale, 

Allegro Assai. Mozart 

Overture, Bacchanale and Venusberg music 

from "Tannhauser" Wagner 

The noble grandeur of the lofty Bach choral prelude 
was likened by Stokowski to "a great three-sided pyramid" 
and, in the form it was given to us, a most adequate ex- 

position by the Philadelphia Orchestra, it seemed likely to 
endure as long as the Egyptian monuments themselves. 

Mozart Symphony Follows 

Mozart' favorite symphony in G-minor, probably com- 
pleted in 1788, his only one in the minor key. followed. 
This work attracted the attention of Mendelssohn and 
Beethoven. Of it Schubert said : "One can hear the 
angels singing in it." Its exquisite melodies, graceful 
dance forms and song-like passages were woven into a 
second monument of orchestral material. Speaking from 
the radio standpoint solely, one can only refer a little 
hesitatingly to the slight prominence of the string-basses 
in this delicate work. It should be recalled, however, that 
the means at the composer's command were probably the 
"small orchestra" of the day, the usual quartette of strings, 
two horns, a flute, two clarinets, two oboes and two bas- 
soons. Stokowski's strings of the smaller families with 
their neighbzoring wood-winds sang beautifully, even 
though at times the listener found tempi slightly retarded. 



With the symphony laid aside, Stokowski's forces at- 
tacked one of the greatest works of Richard Wagner, the 
Overture, Bacchanale and the colorful Venuberg music 
from "Tannhauser." Here, as the conductor explained to 
use, were mysticism, religious sentiment, revelry and orgy, 
with a concluding episode of love and beauty. 

More appropriate, to the day and to the City of Phila- 
delphia, was the Song of the Pilgrims, with which the 
overture opens, but alas ! the blight of the New York night 
club soon falls upon the calm tranquillity. Sinful excite- 
ment follows and the doings of the gilded palaces of the 
Venusberg are exposed in musical whoopee, but finally 
the artificial clamor 
dies down and — just 
as if the announcer 
had said "We now 
return you to Phila- 
delphia" — the quiet 
Song of the Pil- 
grims resumes com- 

Patient Rehearsal 

In the perform- 
ance of this work, 
evidence of patient 
rehearsal and abso- 
lute control was 
plentiful. The con- 
trasting themes of the swirling violins and obstinately 
insistent brasses and wood-winds were so articulated as to 
carry perfectly over the radio. Unlike the Mozartian 
offering, it would be difficult to quarrel with any particu- 
lar choir of instruments. The balance was notably 

We understand that actual tones of the orchestra were 
gathered in a concentrating or focussing microphone. Fa- 
miliar with the performances of the Philadelphians one 
missed the "eye-and-ear" effect, the presence of Stokow- 
ski himself, his ability to "lift" his orchestra and his 
audience alike, the highly-drilled musicians and the huge, 
quiet audience. We believe that a slight readjustment 
of the seating of the orchestra for radio broadcasting 
is al that is now required for perfect reception. 

In concluding Mr. Stokowski announced a Stravinsky 
number for, November 3, "Sacre du Printemps," and 
asked his audience to be prepared to listen sometimes 
to the things of our day. On this date, he said an all- 
Russian program would be presented, and he solicited 
suggestions as to the character and presentation of pro- 
grams. One promise he made we hope he will hold to 

"We are not going to play popular music. We are 
going to play the greatest music — the best or nothing !" 

Despite the howls of controversial clamor that this 
statement may arouse among the well-known masses, we 
are in sympathy with Mr. Stokowski's frame of mind 

A Portion of the Famous PJiiladclphia Orchestra 

Second Broadcast Better 

The second broadcast of the Philadelphia Orchestra, 
under the direction of Leopold Stokowski, confirmed the 
earlier impression that music lovers have been denied 
this pleasure too long. Here was better broadcasting, 
as far as this listener's particular set was concerned, and 
adequate explanations of the program, given at first-hand 
by the conductor himself. 

The first item was Borodine's Polovetsian Dances from 
the opera, "Prince Igor," a work completed after the 
composer's death by Rimsky-Korsakoff and Glazounov. 

A skilled exposition 
was given by the 
ans of this wild, 
onrushing music, 
with its marked Ori- 
ental and Russian 
rhythms. The ballet 
music was worked 
up to a great climax 
after a metriculous 
survey of all its 
changing forms. 

Second on the 
program was the 
modernist Stravin- 
sky's "Sacre du 
Printemps." M r . 
Stokowski prefaced 
this composition by an eloquent plea that the listener 
should strive to follow "this beautiful music" and to hon- 
estly endeavor to understand it. A musical pagan riot 
followed, wherein the flute, English horn, trumpets and 
drums strove for first place in the battle. It was a glori- 
ous orgy of sound, this consecration of Spring, depicting 
the worship of the forces of Nature by primitive man. 

This writer tried faithfully to follow the music and to 
understand it, in strict obedience to Mr. Stokowski's 
admonition, all the way from the adoration of the earth, 
through the harbingers of Spring, the dances of the ado- 
lescents, the round dances of Spring, the games of the 
rival towns, the procession of the sage, pagan night, mys- 
tical circles of the maidens, to the ritual of the sacrifice, 
the evocation of the ancestors and the final sacrifice. 
From a program note by the distinguished commentator, 
Lawrence Gilman, I quote : 

Lawrence Gilman's Comment 

"Now the elected victim, who has thus far remained 
motionless throughout these activities, begins her sacri- 
fice, for the final act of propitiation has been demanded, 
and she must dance herself to death. The music expresses 
the mystical rapture of this invocation of vernal fertility 
in rhythms of paroxysmal frenzy. There is nothing in 
music quite like this frenetic close of Le Sacre du Prin- 
(Continued on page 47) 



I Ether Etching/ I 

Mathilde Harding, Pianiste 

A RADIO look into the life of this young artiste, 
■*- Mathilde Harding, familiarly known as "Billy," re- 
veals that her first pianistic studies were at the Washing- 
ton Seminary, Washington, Pa., under the direction of 
Julia Moss. She won the Juilliard Foundation Scholar- 
ship in 1926, '27, '28 and '29, and, her first public concert 

appearance was in 
1918, with the Rus- 
sian Symphony Or- 
chestra, under the di- 
rection of Modeste 

Her first radio ap- 
pearance was over 
KDKA in 1922 and 
in addition to this sta- 
tion, she has played 
for WEAF, WJZ, 
WOR, WABC, and 
CFCF. Her favorite 
composer among the 
classics is Brahms, 
while Debussy has her 
vote in the modern 
school. She is happi- 
est when learning a 
new piano concerto 
and also when playing 
the work with a full 

Mathilde Harding 
has a powerful, vi- 
brant and radiant per- 
sonality and her play- 
ing, when occasion de- 
mands, is full of fire 
and dash. Curiously 
enough, the radio, which has made her name famous, al- 
most ended her career. At KDKA, when, in girlish curi- 
osity, she was exploring the control room, she attempted 
to reach up and touch the high-power switch "to see what 
would happen." "What happened" was a blow from a 
big Irish engineer that knocked Mathilde spinning almost 
into unconsciousness but into absolute safetv. 

Mathilde Harding 

N. Y. U. Gives Courses Over WOR 

New York University recently inaugurated its ninth year 
of broadcasting over WOR. This marks the fourth year 
that WOR has been the radio mouthpiece of the Univer- 
sity. These radio courses have already been announced. 

"Radio Needs Standardized Diction" 

wQ PEAKING from the announcer's angle, what radio 
^ needs most is uniform diction, a definite standard 
of good, clear, understandable English." This from Mil- 
ton J. Cross, the well-known radio announcer, an inter- 
nationally known figure on the concert stage, and recently 
the winner of the gold medal for good diction, presented 
by the American 
Academy of Arts and 

"I believe that, in 
England, the standard 
of diction centres 
somewhere between 
the Universities of 
Oxford and Cam- 
bridge, while Dublin 
University claims un- 
usual purity of speech 
and the Scots, not to 
be outdone, announce 
that the finest English 
in the British Isles is 
that of Edinburgh 
University. But I like 
to think that the aver- 
age of these four 
great schools is really 
fine English. 

"Here we have no 
such standard — at 

least on the air. We are guided largely by our own par- 
ticular education and by our own taste in the matter of 
diction. I am frank to say that some of the results are 
a little disastrous. It seems that some of the early an- 
nouncers 'on the air' were chosen for personality and 
musical voices, rather than for distinguished diction. 

"I know there were notable exceptions among my 
friends and colleagues, but the radio business grew — and 
is still growing — at an alarming rate, and the first diffi- 
culties were naturally those of getting competent men to 
man the ship. Some of the first sailors — to continue the 
simile — were reliable, rather than artistic." 

School Children Hear Broadcast 

More than 5,000.000 school children in 50,000 class 
rooms in the United States, Canada, Mexico, the West 
Indies and even as for away as the Philippines listened to 
the first of the Music Appreciation Concerts broadcast 
under the directions of Walter Damrosch and presented 
by the N. B. C, according to Pres. M. H. Aylesworth. 

Milton J. Cross 



JTATIC pccm the XtLDICI 

[Continued from page- 34) 
dependence, Kans., and the wedding 
took place while he was there. He and 
Miss Sickels had been life-long 
friends, She is said to be a talented 
pianiste. Leon sings on the Enna Jet- 
tick Hour and also with the Ballad 
Singers, the- Sixteen Singers and on 
other NBC programs. Leon brought 
his bride back to New York with him 
and they plan to make their home at 
some point convenient to the NBC 

"Bill" Schudt's "Going to Press" 
began as a one-station feature last 
December. Not yet a year on the 
air, this feature, dedicated to news- 
papermen and newspaper topics, is 
now on the coast-to-coast facilities of 
the Columbia Broadcasting System. 

Paul Dumont — and we have no means 
of knowing how he secured the proper 
technical information — is unusually 
realistic in the drinking scenes of tlie 
NBC light operas. When Harold San- 
ford was conducting "Her Regiment," 
Victor Herbert's bright light opera, 
one of the characters invited the sol- 
diers to line up and take a drink. "Col- 
onel" Dumont lined up a little ahead of 
the others, at the "mike," and behaved 
as one does late in the evening in 
Those Places. He staggered around, 
despite the caution of the production 
manager, and caused poor Harold 
Sanford to smack his lips unthinkingly. 
* * * 

Bernie's Lexington Hotel Orches- 
tra is broadcasting over WOR for 
the hostelry of the same name. 

^C ^I ^ 

In response to 4,971 inquiries, Da- 
. riel Jones is a perfect lady, Leslie 
Frick is a contralto, and Leslie Joy is a 
baritone. Vernon Radcliffe has the 
same difficulty as Jerome K. Jerome, 
the British novelist. Some people call 

him by his first name and some by his 
last, but nobody seems to know which 
is right. 

* * * 

"My beautiful 'seven-passenger 
Nash sedan has been stolen," Henry 
Shopc, NBC top tenor, recently tele- 
phoned to the police. It seems that 
Henry had let a friend use his car. The 
friend, who was leaving town, parked 
the car and left the keys and a note, 
telling where the car was parked, in 
the care of a drug clerk at 711 Fifth 
Avenue. When Henry went to look 
for his car, he could not find it. After- 
reporting his loss to the police, he 
bought a Ford to replace his Nash. 

Four days later the friend returned 
and, when informed of Henry's loss, 
went in search of tlie car. He found 
it exactly where he had parked it. 
There had been a misunderstanding as 
to the street. The car Imd not been 
touched for four days. The police had 
not come across it in their search — nor 
had they picked it up for exceeding 
the parking limit. Now Henry is won- 
dering what to do with the "other car." 

* * * 

Stuart Avers, Don Juan of the NBC 
continuity writers recently discovered 
on Madison Avenue what he believes 
to be the height of futility. A blind 
beggar, hopelessly crippled, was play- 
ing a battered guitar, accompanying a 
song. . . . "The Pagan Love Song !" 

* t- * 

"Elsie Pierce Class in Beauty," a 
new program under the sponsorship of 
Elsie Pierce, beauty specialist, and the 
National Grocery Company, are two 
new commercial broadcasts over 

% H* ^ 

Augusta Spette, soprano, who until 
recently was a member of the girls' oc- 
tet at the NBC, is reported to have 
joined a trio of girls that is singing on 
the "Moonbeams" program at WOR. 

In making the change she replaced 
Mary McCoy, soprano, who has joined 
the NBC forces. 

* * * 

The Spaghetti Winders' Association 
and the Society for Louder and Bet- 
ter Yodelling, both housed at 711 
Fifth Avenue, report the prospect of a 
busy season with the advent of the cool 
weather. Walter Kiesewetter, official 
pianist of the Yodellers, spent his 
Summer in Europe. He says Munich 
is still wet. 

* * * 

Further foreign news comes from 
Leslie Frick, contralto, who returned 
recently from Munich. She says "the 
beer was beyond words, not to men- 
tion the Wagner and Mozart, which 
were wonderful." 

^c :[; $ 

Genia Zielinska, the Polish colora- 
tura soprano, recently was seen proud- 
ly carrying a lovely song, with lyrics 
by Mildred Merle, music by Henry 
S. Gerstle, the boy arranger, entitled 
"Autumn's Coming." The song, 
which is dedicated to Miss Zielinska, 
went on the air recently. It sounded 
verv well. 

"Say, Walter," said Mary Hopple, 
contralto, in the NBC studios the 
other day, "I have just taken a new 
apartment and I've bought one of 
those no-end day-beds for it." 

"I don't know why you mention 
it to me," said Walter Preston, bari- 
tone, "but, at that, you should have 
'no-end' of comfort from it." 

Among the most recent of America's 
citizens is Miss Genia Fonariova, so- 
prano, heard weekly in Troika Bells 
over the NBC Miss Fonariova, a na- 
tive of Russia, received her final nat- 
uralization papers recently. She has 
been in the United States for nearly 
fifteen years. 

DECEMBER, 19 2 9 


PccecAAi Ncte/ 

Durant Motors, Inc., On the Air 

A new weekly series of dramatic 
sketches, depicting incidents in the 
lives of great men who have moulded 
history and set the standard of truth 
and accomplishment, made its debut on 
radio recently. The series, known as 
"Heroes of the World," is sponsored 
by Durant Motors, Inc., of Lansing, 

The Durant Orchestra, under the di- 
rection of Dana S. Merriman, con- 
tributes an appropriate musical back- 
ground. The sketches are written by 
Burke Boyce, NBC continuity editor, 
author of "Wayside Inn," and origi- 
nator of the "Rapid Transit" sketches, 
as well as other original radio dramas. 

Members of the cast include Alfred 
Shirley, Charles Webster, Harry Ne- 
ville, Gladys Erskine Shaw, Harvey 
Hays, Bennett Kilpack and Katharine 


* * * 

Rutgers Programs Over WOR 

Rutgers University, which is the 
State University of New Jersey, and 
Station WOR, largest broadcasting- 
station in the State, are again co-oper- 
ating in offering a series of air pro- 
grams this year. The first started on 
Wednesday afternoon, October 23. 
The Rutgers Lecture Program will run 
for twenty-three weeks. The speakers 
will be prominent members of the uni- 
versity faculty, who will discuss such 
subjects as child psychology, interna- 
tional relations, child guidance, music, 
drama, literature, journalism, and edu- 
cation. The general University Pro- 
gram will be given for ten consecutive 
weeks. These programs will be of 
one-half hour duration and will consist 
of both lectures and music. Later in 
the year, probably beginning in Janu- 

^ ^ ^ 

Six Symphonies on G. E. Hour 

Six complete symphonies will be 
performed during the winter for radio 
listeners by the General Electric Sym- 
phony Orchestra, according to Walter 
Damrosch, who recently resumed con- 
ducting the Saturday evening concerts 
over NBC. 

Religious Leaders Back on Air 

Three famous religious leaders re- 
turned to the air recently in a series 
of winter services which will be broad- 
cast by the NBC. Dr. S. Parkes Cad- 
man started his seventh season be- 
fore the microphone, while Dr. Daniel 
A. Poling, leader of the National 
Youth Conference, opened his fifth 
season. Dr. Harry Emerson Fosdick, 
who conducts the National Religious 
Service, began his third season on the 

same day. 

% % ^ 

Recent Appointments at NBC 

Five executive appointments were 
announced by the National Broadcast- 
ing Company to become effective re- 
cently. William Lynch, former an- 
nouncer, became assistant eastern pro- 
gram director, and Katherine Seymour 
became assistant continuity editor. The 
three other appointments are : Marley 
Sherris, night program representative ; 
Norman Sweetser, program represen- 
tative, and Curt Peterson, supervisor 
of announcers. The new appoint- 
ments were announced by George En- 
gles, vice-president in charge of pro- 

WOR Offers Philharmonic Series 

WOR recently started its third suc- 
cessive season of broadcasting the 
Philharmonic Symphony Orchestra of 
New York. Under the baton of such 
eminent conductors as Arturo Tosca- 
nini, Willem Mengelberg and Bernar- 
dino Mollinari, with an unrivalled per- 
sonnel of 111 men and with an in- 
creased schedule of concerts planned 
this season will become a landmark in 
American musical annals. The sea- 
son will last twenty-nine weeks, one 
week longer than last year. Mr. Tos- 
canini will officiate during the first and 
last eight weeks of the season. Mr. 
Mengelberg will direct eight weeks be- 
ginning November 25, and Mr. Mol- 
linari the next five weeks from Janu- 
ary 20 through to February 23. 

^ ^ ^ 

New Program on "Famous Loves" 

Dramatic moments in the lives of 
the world's greatest lovers are revealed 
to the radio audience in a program en- 
titled "Famous Loves," which made its 
debut over the NBC System recently. 
Katharine Seymour, assistant editor, 
NBC Continuity Department and au- 
thor of the series of sketches heard 
during the past summer, "The Family 
Goes Abroad," has delved deeply into 
the histories and biographies of such 
historic lovers as Cleopatra, Ninon de 
l'Enclos, Diane de Poitiers, Nell 
Gwyn. Mme. du Barry and many oth- 
ers for the scenes dramatized in these 
playlets. This program is sponsored 
by the Craddock Terry Company, of 
Lynchburg, Va. 

* H : * 

"Cheerio" Returns to the Air 

With the program time lengthened 
to half an hour and the station list 
increased to nearly thirty, "Cheerio" 
returned to the radio audience recently. 
He now brings his message of inspira- 
tion and cheer six mornings a week 
through the NBC. The Cheerio pro- 
gram has not been off the air, but 
"Cheerio" himself, that near-mythical 
figure that is the spirit and personality 
of one of the most unusual broadcast 
series in radio history, was on a vaca- 
tion for three months. 



RADIO REVUE Makes Its Bow 

TT will be the aim of Radio Revue, a magazine for 
-*■ the listener, to give, clearly and impartially, news about 
radio personalities, the radio business, both from the 
broadcasting and manufacturing angles, the rights and 
wrongs of advertising clients, the woes of announcers, the 
crimes committed by radio fans, the punishments deserved 
for these crimes, blasphemous errors in diction and in 
musical announcements, distortion and war-provoking 
mispronunciations of foreign w r ords known to every music 
student, blatant self-advertisements by announcers, sala- 
cious and unfair advertisements, overpowering use of 
advertising material, the uplift in music, the downpush in 
jazz, the curse of the crooners, etc., etc., ad infinitum. 

We do not expect to revolutionize and reform the radio 
business over-night, nor do we intend to investigate and 
imprison a lot of nice people, nor attack commissions, 
assault governors, and threaten governments with the 
press, nor threaten the press with the governments. 

We believe that there is a definite need and place for 
such a publication. Five years' practical experience in 
radio broadcasting and a much longer period spent in the 
publishing field have caused us to arrive at this conclusion. 

Radio broadcasting has had an unprecedented growth 
and bids fair to continue its amazing progress. In the 
process, however, a number of important things have been 
overlooked or slighted. We hope to have a part in rem- 
edying some of these shortcomings. To this end, we 
shall campaign, among other things, for: 

1. Wider dissemination of news and information 
about radio artists and program developments. 

2. A general improvement in the standard of radio 
programs being broadcast. 

3. More extensive use of radio broadcasting for edu- 
cational and economic purposes. 

4. A decided improvement in reception conditions 
for the radio listener. 

5. A wider appreciation of the need for better and 
more standard English diction in all radio broadcasting. 

However, lest we be accused of becoming too stuffy and 
pompous, we wish to have it distinctly understood that 
this magazine will be edited with the editorial tongue 
always in' the editorial cheek. We do not want to become 
too serious about this business — especially when there are 
so many opportunities in it for real humor. 

With this introduction we now commend to your atten- 
tion our newly-born infant, conceived in the ecstasy of a 
new idea and born in the agony of pre-publication uncer- 
tainty. We bespeak your kind indulgence for its defici- 
encies and assure you that, whatever they may be, we 
shall try to overcome them in future issues. 

We expect to have plenty of fun with this magazine. 
Our prime purpose is to make a lot of money — and, of 
course, to publish the most entertaining magazine possible. 


Radio Censorship Impracticable 

f*\ N the face of it, radio censorship seems as imprae- 
^^ ticable as it ' must appear preposterous. Here we 
have no physical thing, like the book or the film, products 
created at a tremendous expense, which can be — and 
often must be — altered and amended to satisfy a large and 
discriminating public, as well as a small group of official 

Once a voice or a band has gone on the air, it has gone 
beyond the power of recall through human agencies. Each 
must be as nearly perfect as possible before its agent will 
permit a broadcast. The more prominent radio corpora- 
tions are continually endeavoring to improve their broad- 
casts, and their energies and capital are not only expended 
upon class, but upon type as well. By that is meant the 
nature of the program as well as the grade of the per- 
forming artist and the music itself. 

The public finds but little fault with the artist as a rule, 
because the broadcasting company, through its tests and 
auditions, can generally have the best entertainers at its 
constant command. The difficulty lies with the nature of 
the program. 

Programs may be classified, roughly, under three heads : 
classical, popular, and a third class that strikes a happy 
medium between these two. Classical programs, as a rule, 
refer to symphony concerts, song recitals, and the radio 
presentations of grand opera and famous plays, or 
specially dramatized resumes of standard books. In the 
third class we must include performances of light operas, 
original skits of a reminiscent nature, travel talks, band 
concerts, and the analyses of world-wide interest which 
are generally seen on the news reels in the motion picture 
theatres. All of these have their tens of thousands of 
enthusiastic radio fans. 

The complaint — a real one — has been directed some- 
what against the popular program, and specifically against 
jazz music — not against the remarkably fine, polished per- 
formances of a small number of skillul orchestras under 
competent and sensitive leaders, but the raucous, blatant, 
stupid noises of poorly-manned bands, whose chief asset 
is a villainous "director," or a tin-throated tenor with cast- 
iron lungs. 

The hig'h-grade syncopating ensembles will quickly 
enough be featured by one of the radio companies or ad- 
vertisers of national importance ; the second raters will 
have to confine themselves to the small hotels and cabaret 
enterprises which provide expense money for them, while 
they give their services gratis to the smaller broadcasting 
stations. And, if they are not to be wiped off the slate 
of radio through natural means, then a form of censor- 
ship must be set up to save our tortured ears from their 
continued and cacophonous assaults. 

An instrument ultimately may be devised to measure 
purity of tone, balance, finesse, and perhaps even that 
elusive quality, "radio personality." With this miracle 
performed, whoever and whatever does not come up to 
a certain standard will be dropped. The unkind critic 
will doubtless add that they should be dropped from the 


. and from a great height. 

DECEMBER, 19 2 9 



Returns From Opera Triumphs Abroad 

Irma de Baun, Coloratura Soprano, Enjoyed Sensational Success in Eur of e 

T^HIS singer, who is well known to the radio audience here, 
-*- recently returned to the air on the "Evening in Paris" pro- 
gram over Station WABC at 9:30 every Monday evening. While 
in Italy she sang the roles of Gilda in Rigoletto, Lucia in Lucia di 
Lammermoor, Rosina in The Barber of Seville and Micaela in 
Carmen. Appearing at Turin, Milan, Gorizia and Venice, she 

was accorded a great ovation at every performance. She received 
other offers of engagements sufficient to keep her abroad all win- 
ter, but previous contractual obligations in America prevented her 
from accepting these. Her operatic contracts for the coming win- 
ter and spring include appearances in Havana and Buenos Aires. 
She also is booked solid for Italy next summer. 



Eadic in the Home 



Edited by Mrs. Julian Heath 

Pioneer Broadcaster of Market Reports and Daily Menus 



Hello, Neighbors! 

After my five years' daily contact with you over Station 
VVJZ, my many years' service as president of the National 
Housewives' League and now with the added contact af- 
forded by this new magazine, I feel that the time has 
come for a "merger" of the home executives, the house- 

I want you to help me in my capacity as editor of this 
special home department, so that this may be our page — 
not mine alone. Our business of home-making is the big- 
gest business in the world. Indeed, it is the center of all 
business. We buy what the world produces. We must 
buy properly — and we must use properly that which we 

Each American home represents an individual business 
and should be organized just like any other business. This 
we can accomplish by means of our daily radio contact 
and this printed page, through the medium of which you 
can "talk back," as your letters indicate you would like 
to do. 

It is because we are neighbors that this home page will 
be a neighborly page — just a place to exchange ideas and 
thoughts, and to discuss any home problems. You doubt- 
less have many problems that present themselves in the 
housing, clothing, feeding and educating of your family. 
These we will discuss and attempt to solve together. 

^ >K ^ 

Broadcasting studios are extremely interesting places, 
and the radio artists are likewise charming, intelligent peo- 
ple. They all have their human side, in addition to the 
artistic, and they all appreciate the good things of life. 

One day, not long ago, Joseph Latham (you know, he 
took the part of Peter Philbin, the boy who ran away 
and went to sea with the Forty Fathom Fish crew) said 
to me : 

"Mrs. Heath, may I have that recipe for cheese cake 
that I heard you give over the air the other day?" 

"Surely," I said, and the next day I handed it to him. 
A day or two later he reported, with shining eyes, that the 
cheese cake had been "fine." 

The story does not end there, however. Some weeks 
later I was sitting in the NBC reception room when a 
charming lady introduced herself to me. She proved to be 
Mrs. Latham. Thanking me for the recipe, she said : 
"I just wish you could have seen how thoroughly Mr. 
Latham enjoyed the cheese cake, and how he hung around 
the kitchen and watched me make it." Here is the recipe : 

We will divide this recipe into two parts, the pastry and the 
filling. The pastry calls for: 

1 cup flour 

l /z cup sugar (scant) 

x /z teaspoon baking powder 

1 tablespoon butter 

1 unbeaten egg 

2 tablespoons water 
Proceed as follows: 

Sift together the flour, baking powder and sugar. Then work 
in with the finger tips one tablespoonful of butter. Then add 
one unbeaten egg and two tablespoonfuls of water. Use a knife 
to blend this all together. Then toss on a floured board and roll 
one-quarter of an inch thick. This dough breaks easily. Patch 
wherever needed with an extra piece of dough. 
The cheese cake filling calls for: 

1 pound pot cheese 

J /4 cup melted butter (about 2 oz. ) 

% cup sugar 

3 yolks of eggs 

1 cup evaporated milk or cream 

2 tablespoons corn starch (rounded) 
r 4 teaspoon lemon juice 

2 teaspoons vanilla extract 
5 drops almond extract 
1/3 cup seedless raisins 
Proceed as follows: 

Mix together pot cheese and melted butter. Mix together the 
sugar and egg yolks. Mix together the evaporated milk and the 
corn starch. Blend all of these ingredients thoroughly. Then add 
the lemon juice, vanilla extract, almond extract and the raisins. 
Blend these ingredients well and then fold in the stiffly beaten 
whites of the three eggs. 

Butter a cake pan and line it 'with the cookie dough or pastry 
as given. Pour in the mixture and then fold over the dough 
which, of course, will be higher than the mixture in the pan. 
This will make a sort of collar for the mixture. 
Bake in a moderate oven 45 to 5 5 minutes. 
^ % ^ 

Then there is Milton J. Cross's favorite dessert. One 
day. back in the old West 42nd Street studios of WJZ, 
Mr. Cross was putting my program on the air. That day 
we were giving recipes for "Father's Favorites." It 
struck me that this popular announcer might have a fa- 
vorite sweet, so I asked him what dessert he liked best. 

"Toasted cocoanut pie," was his immediate answer. 
And. as Mr. Cross's pie is a staple in our radio circle, I 
am giving it here. 

The ingredients are: 

1 small box cocoanut 

2 eggs 

% cup sugar 

1 pint milk 

2 level tablespoons corn starch 
Proceed as follows: 

Put the milk on a slow fire to ■warm, adding sugar. Separate 
the eggs, dissolve the corn starch in cold water and add beaten 
yolks and salt. Stir into milk, cook until thick and then stir in 
three-quarters of the cocoanut. Bake the pie crust and pour this 
mixture into the shell. Cover with stiffly beaten whites of eggs, to 
■which two tablespoons of powdered sugar have been added. Sprin- 
kle with rest of cocoanut and brown in a quick oven. 
* * * 

Further evidence of the fact that radio artists appre- 
ciate good things came to light the other day when Frank 
Croxton, the NBC basso, stopped me and asked : 
(Continued on page 45) 

DECEMBER, 19 2 9 


You remember the grief 
and consternation which 
ensued later, when 

"All the king's horses and 

all the kin^s men 
Couldn't put Humpty-Dumpty 

together again." 

\A/ HAT a tragedy, if all the eggs in the world suddenly 
disappeared — forever! No more omelets, no "ham 
and — ", no cake-baking, no egg-batter for frying, no egg-nogs 
for invalids. In a flash, a thousand and one uses for eggs would 
race frantically through the mind of every disconsolate house- 

And yet — because eggs are seldom advertised — there is 
perhaps no food product so little understood. Certainly there 
is no food product about which knowledge would prove more 
valuable to you. 

Here, from month to month, will be unfolded a "serial story" 
of eggs, wherein will be set forth much to interest, and more 
to surprise you. "My goodness," you'll say as you read, "I 
never knew there was so much to an egg." 

There is. Good eggs don't "just happen." 

A trip is planned for January — on the magic carpet of 
imagination — to a paradise of the poultry kingdom, the land of 
perpetual spring. 



She Loves a Loud Speaker 


HP HIS lady, Bertha Brainard, is familiarly known in the 
*- XBC studios as "B. B.", Eastern Program Director. 
Bertha is a most valuable scout for she is always rescuing 
someone from some difficulty or other, or saving some- 
body from something. She has a singularly good-looking 
office at 711 Fifth Avenue, in which the furnishings and 
decorations express her good taste. This includes the 
lamp shown above which moves at her will. On her floor 
— the 12th — there is the Shipwrecked Sailors' Club, to 
each member of which Bertha has lent a helping hand in 
moments of dire distress. Of this club, Bertha is Com- 

In response to a barrage of impertinent questions, the 
Eastern Program Director announces that her full name 
is Bertha Beatrice Brainard, and her place of origin South 
Orange, N. J. Her entry into the radio world dates back 
to 1921 with Station WJZ. which was then at Newark. 
Her spare time — if and when she gets any — is occupied 
with swimming, dancing, riding and drinking tea. She 
does not collect anything except friends. Being a Titian, 
she does not know why Gentlemen Prefer Blondes. 

Bertha Brainard is the only person living who really 
loves a loud speaker — that is, a radio loud speaker. The 
louder the speaker, the better she likes it, she says, and a 
specially-devised sleep destroyer is now being designed 
by the XBC engineers for her exclusive benefit. 

The bird-like gentleman on her desk is Nemo, the 
match-man. The space not occupied by Nemo is usually 
covered with flowers. 

Philco Hour Presents Favorite Light Operas 

(Continued from page 20) 

Harold is widely known for his workmanlike orches- 
trations and his compositions. He wrote the music for 
our signature song, "Mem'ries," and I furnished the 
lyrics. He is affectionately called "Harold the Six- 
teenth" because, in rehearsing the singers, he is exceed- 
ingly particular that they give the exact valuation of each 
sixteenth-note. Harold prefers riding on a locomotive 
to any other form of recreation. He says that, if he had 
not become a musician, he certainly would have been an 

Telegrams, telephone calls, fan mail and occasionally 
flowers for the prima donna continue to make the Philco 
artists happy in their work. Sometimes a letter is re- 
ceived from some shut-in far out West, and often a tele 
gram arrives from some "man of mystery," who has 
become enamored with Miss Dragonette's voice. Re- 
peatedly the story comes to us — and some editor seeks to 
verify it — that Jessica and Colin are engaged. However. 
Kitty O'Neill is always on hand, so we just cannot satisfy 
this attempt to have real romance run rife in the Philco 

The Joseph Hilton & Sons concern is sponsoring a new 
radio feature at WOR, as is also Fioret, Inc., 677 Fifth 
Avenue, New York. 

Dale Wimbrow Whittles — 

(Continued from page 16) 

popular. However, after the audition, it was decided to 
change the entire presentation. 

"We finally went on the air, using Gus Haenschen's 
orchestra, Virginia Rea, the soprano who is now so widely 
known as Olive Palmer ; Douglas Stanbury, baritone of 
Roxy's Gang, and myself. In those days WJZ was not 
selling its time on the air. It donated the time to respon- 
sible organizations that would agree to pay for all of the 
talent used. 

"Well, that line-up of talent cost exactly $575. includ- 
ing the orchestra. It could not be duplicated today for 
man_\- times that amount. However, the folks back home 
thought that $575 a week was an unusually heavy expen- 
diture for advertising, particularly in view of the fact that 
they did not sell 40 or 50 farms immediately after the 
first broadcast. And so they discontinued the program 
after five performances. 

"As time went on, however, they saw their mistake. A 
year later they tried to go back on the air but, in the in- 
terim, radio had made tremendous strides and WJZ was 
then selling its time at about $600 an hour, I believe. In 
addition to that amount, they would have to pay the cost of 
the talent. 

Still Receiving Reactions 

"The strange part of it is that, to this day, they are 
still receiving reactions from their five-week broadcast 
and people are writing to ask them if they are going on 
the air again. They have reached the point where they 
would be willing to spend SI, 500 a week for an hour's 

DECEMBER, 19 2 9 


program similar to the one they originally broadcast, but 
such a program today would cost them approximately 
39,000 for the same talent and coverage they had then. 

"In those days WJZ's powerful transmitter covered a 
tremendous area and there was not as much interference 
from other stations as there is now. In order to cover 
the same territory today, an advertiser would be com- 
pelled to buy a chain of stations. Such is life." 

With a few deft motions. Dale put the finishing touches 
on the walking stick and then closed his knife. The com- 
pletion of his whittling seemingly ended the mood for 
reminiscences and he hurried away to present the stick 
to its new owner. 

"Go Rest, Young Man, Go Rest' 

Radio in the Home 

(Continued from page 42) 

"'Did you ever tell your radio audience about eggplant 
with tomato sauce ?" 

"No, I don't believe I have," I replied. "Tell me 
about it." 

"Well," he said, "my mother prepares the eggplant in 
the usual way for frying, by pressing out the water under 
the weight of a flatiron. Then she fries it and. when 
serving, pours over it a thick cream tomato soup." The 
way his eyes glistened when he told me about it was mute 
testimony of how good it tasted. 

While he was talking to me, a number of other artists 
were listening and each one was ready to tell me something 
that he thought would far surpass the eggplant with 
tomato sauce. I'll let you know more about their ideas 

Then, too, many of the women artistes are good house- 
wives. I know that they will have a number of interesting 
tninsrs to tell also. 

1o£| N WlLW°OD MIS' WoQB) 

-Vice. PP5£it>eioT Hf.-ooNo.t- 9<Joao Cftsriwe CWoau* 

Policeman a Radio Fan 

Traffic Policeman Geiger, six feet and some 
inches of regal and legal magnificence, who func- 
tions most admirably at Fifth Avenue and 5 5th 
Street, is by origin a Boer. Dr. Theophil Wendt, 
the South African conductor-composer, often a 
guest at the NBC, knew him in South Africa 
twenty years ago, when he was fighting as a 
good South African against the British King. 

Dr. Wendt fought on the other side— with the 
British — in the Cape Mounted Police. Dr. Wendt 
said he always had admired the refusal of the 
Boer to pledge allegiance to the King, against 
the dictates of his conscience. The Doctor and 
the Boer have remained good friends. 

Officer Geiger has a comfortable home, which 
is "open house" to all his friends, particularly 
those from South Africa. He has found happi- 
ness in the good old U. S. A. and has managed to 
retain most of his British friends, Boer or no 
Boer, war or no war. 

Officer Geiger occasionally calls on the engi- 
neering department of the NBC for advice on 
technical radio matters, as he is an ardent radio 

T TERE is the long awaited picture of John W. Elwood, 
-*- -*- the youngest vice-president of the XBC. and general 
supervisor of table entertainments. John is a pioneer in 
the radio field, having served the General Electric Com- 
pany with distinction, and also the Radio Corporation of 
America since its inception. He has attended most of the 
important radio conferences abroad that have dealt with 
the present radio set-up and program exchanges. He is a 
product of the Empire State, Ilion, N. Y., claiming him as 
a native. 

He is distinguished for never doing anything that he 
can get anyone else to do. At this he is quite successful, 
for he has a staff of willing helpers, who jump around at 
his slightest wish. His motto has always been: "Go rest, 
young man, go rest.'' 

His principal hobby, and one that comes before cooking 
and entertaining his friends, is "Ginger." "Ginger" El- 
wood is a diminutive but most important lady of four 
Summers to whom Jolly Bill and Jane have dedicated 
their children's programs, since Papa Elwood was the 
originator of this astonishingly popular radio feature. 
"Ginger" often takes a hand in the studio and "goes on 
the air" as part of the "Jolly Bill and Jane" program. 



What Is the Secret of Rudy Vallee's Success? 

(Continued from page 5) 

that had been his since his early college days. His lucky 
chance came with the opening in Greenwich Village of a 
new night club, Don Dickerman's "Blue Horse." This 
new club could not afford to engage a well-known band, 
and so gave Rudy his chance. He assembled seven players, 
christened them "The Connecticut Yankees" and pro- 
ceeded to whip them into shape. 

"Something different" had always been Rudy's ideal in 
dance music and, as he says. "We worked, sweated and 
cursed together until we got something different." One 
evening some time later, Rudy sang a vocal chorus to one 
of the dance numbers. The crowd liked it and applauded 
wildly. That was the beginning of his singing career. 

His first opportunity to make phonograph records was 
with the Columbia Phonograph Co., but he and his band 
are now recording with Victor. Later, he started broad- 
casting and it was through this medium that he became a 
national figure. He receives about two hundred letters 
a day from his admirers. He reads as many of these as 
he possibly can and answers some of them. He and his 
"Connecticut Yankees" have appeared on the R-K-0 
vaudeville circuit. 

Recently he and his boys — he still has all the original 
nembers of his band with him — went to Hollywood to ap- 
pear in a talkie entitled "The Vagabond Lover," which 
has just been released by Radio Pictures. When he re- 
turned to New York recently, Rudy received a great ova- 
tion at Pennsylvania Station. He posed for numberless 
snapshots, along with his parents, Mr. and Mrs. Charles A. 
Vallee, who had accompanied him to Hollywood, and 
many others. 

He then immediately started to work, following a sched- 
ule that will keep him busy for eighteen hours a day. He 
and his band have been appearing at the Brooklyn Para- 
mount Theatre and they recently returned to the air on 
the Fleischmann Sunshine Hour over the XBC network. 
In addition, they will be heard in a series of programs 
emanating from the Villa Vallee. Rudy's own exclusive 
night club. It is understood that Rudy hopes soon to 
make a tour of Europe. 

Rudy has little cause to worry about the future. For 
the coming year he has a half million dollars' worth of 
contracts lined up. including Victor phonograph records, 
talking pictures, vaudeville, night club and public appear- 
ances, not to mention the income from various other 
sources, such as writing popular songs, etc. Not an un- 
pleasant prospect for a boy still in his twenties. As long 
as Lady Luck continues to favor him as she has in the 
past, Rudy need not worry about what the secret of his 
success really is. 

None of the evidence so far presented actually estab- 
lishes the basic reason for Rudy's popularity. Could it 
possibly be that he is an idol moulded of the crumbling 
clay of American sentimentality? 

Wanted: Air Personality! 

(Continued from page 22) 

nately, the sea air — or something else — had so affected his 
vocal chords that, though he tried on two different occa- 
sions to show the committee how great a gift was his 
great gift, he was unable to raise his voice above a squeak. 
On another occasion a cock-sure young man applied 
for an audition and almost toppled the committee over 
by announcing, in answer to the query as to what type 
of voice he had, that he was a soprano. It was only a few 
days later that a young lady appeared and proved equally 
astonishing by saying that she was a baritone. The re- 
sourceful clerk put her down as a mezzo-contralto and. 
for all I know, she. is still going down. 

Adds Radio Pioneer to Staff 

So rapidly has the Majestic Theatre of the Air devel- 
oped and so large have its program activities become, that 
Wendell Hall, its director, has found it necessary to add 
to his staff. Lee J. Seymour, one of radio's pioneers and 
well known in the northwest, is Majestic's latest executive, 
and has taken up his duties as business manager. Mr. 
Seymour, born in South Dakota, has built up a large fol- 
lowing with WCCO, the Columbia Broadcasting System's 
outlet in Minneapolis, where he has been production man- 
ager and official sports announcer for some time. To- 
gether with Mr. Hall and Fred Smith, Mr. Seymour is 
now at work planning Majestic's winter broadcasts. 

Is Your 

and His Success ? 

The Editors of RADIO REVUE will 
pay Ten Dollars for the best letter on 
this subject and Five Dollars for the 
second choice. Write plainly and on 
one side of the paper only. Address: 


Six Harrison Street, New York, N. Y. 

DECEMBER, 19 2 9 


Philadelphia Orchestra Broadcasts 

(Continued from page 36) 

temps, with its famous alternations of meter — bars of 
5-16, 3-16. 7-16, 4-16) — and its delirious culmination as the 
victim falls dead.' 

It is the writer's humble opinion that there is nothing in 
music, on the earth, or in the waters under the earth quite 
like the Stravinsky score, and it would not surprise him 
to learn that several listening victims fell dead at the ''de- 
lirious culmination." At its close one felt the urge either 
to fall over dead or to go somewhere and start a first-class 

There may be enjoyment somewhere in the musk, but 
it is seriously to be considered whether ears attuned to 
German and Italian forms can take up this altered form 
and tempo without a little more notice. Perhaps Stra- 
vinsky speaks in the language of our time and the genera- 
tion now growing up. innocent of musical traditions, may 
enjoy his pagan snortings. shouting, hissings and beatings, 
but here are sensibilities and ears attuned to older meth- 
ods, and we failed miserably, not to listen patiently, but 
to understand anything. 

We are ashamed to say that the only reaction we 
achieved was a bloodthirsty desire to go home and beat a 
Negro servant slowly to death. (Ritual of the Sacrifice!) 
Fortunately for us, Mr. Stokowski had provided a seda- 
tive exactly for this occasion. 

The overture "La Grande Paque Russe" (The Russian 
Easter; by Rimsky-Korsakow followed, based upon im- 


Best Selling Popular Songs of the Month 


Singin' in the Rain 

from Hollyzcood Revue. 


Tiptoe Through the Tulips 

from Gold Diggers of Broadzcay. 


Painting the Clouds 

from Gold Diggers of Broadzvay. 


Am I Blue? 

from On JJ'ith the Show. 


Pagan Love Song 

from The Pagan. 


Lovable and Sweet 

from Tlie Street Girl. 


Song of the Nile 

from The Drag. 


Little by Little 

from The Sophomore. 


Sleepy Valley 

from Tlie Rainbow Man. 


Love Me 

pressions gathered near the Tikhvin Monastery and the 
Russian Easter cathedral service. Here we have ecclesi- 
astic motives of lofty inspiration, grand hymns of the 
Russian church, great and reverent songs of the Resur- 
rection, angelic choirs and trumpets, incense, innumerable 
candles, and the chiming of triumphant bells. 

This was music more familiar to ears in accord with the 
older music, and it was the more acceptable after the 
sketch of several high-powered locomotives tearing their 
way through tin-roofed sheds which preceded it. The 
murder instinct had left our soul. 

But Mr. Stokowski must speak to us in the language 
that is printed before him, as a duty to the times in which 
we live, and it may be that the fault in not being able to 
understand some of his messages is largely ours. 

Westinghouse Program a New Idea 

(Continued from page 23) 
All these gentlemen labored nobly in a good cause. 

Praise, too, is due Gladys Shaw Erskine, in the sketch 
"The Black Knight," Florence Malone and Charles War- 
burton, of the same episode ; Richard Gordon and Vir- 
ginia Gardiner in "The Night Before They Sailed." In 
writing praise of the finished and inspiring work of Miss 
Gardiner, one is apt to become a little incoherent from 
over-enthusiasm. If this writer meets that gentle lady 
again, he will go mediaeval, hire a black horse and a suit 
of shining, silver armor, and carry her off. And also a 
bow to Ivan Firth, the herald with the resounding voice 
. . . and to the mob. 

Here were moments of real romance, a surging flood 
of great music, imaginations allowed to play, musicians 
and singers ably directed, gorgeous lighting (yes, right in 
the radio studio), and a spirit of cooperation behind the 
whole. Here indeed was the clash of steel and the noise 
of battle before our eyes and ears, the burning of a town 
with real red fire, gallant knights with braids of ribbon- 
wound hair on their sword-hilts, fair ladies smiling down 
upon them, urging them to greater deeds, and the songs 
and dances of old France and old England. What if im- 
maculate evening dress did supplant the glittering armor? 
It was a brave show . . . and well done. Westinghouse. 
... we salute vou. — W. P-M. 


This is Station YOY broadcasting, in an honest 
attempt to learn something. 

Why do announcers wear loud golfing suits? 

Why do the superdreadnoughts of opera com- 
panies of the vintage of 1908 come to the air 
announced as "famous stars"? 

Why do impossible window cleaners and wait- 
resses attend "auditions"? 

Why do thousands of dollars find their way 
into the pockets of so-called "great artists," who 
have failed on the road, while younger and much 
better artists fail to get even a hearing? 

And why is that pink woodwork stuck all 
over the entrance hall of the Columbia Broad- 
casting System's new home? 



Life Insura 

Herbert L. Westfall 

Special Agent 

99 Warren Street 

New York City 

Suite 122 

'Phone— BARclay 7169 

Main Street Sketches Set Record 

(Continued from page 11) 
Angeles to Daytona Beach, Fla. 

Leonard went to Xew York next, but could find nothing 
to do there, so he hurried back to the Pacific Coast. Back 
in Los Angeles, he got a job as an extra with the old 
Kaleni Motion Picture Company and worked with them 
and also with the Vitagraph, 101 Bison, Fox, Essanay and 
Triangle companies for three years. 

In 1914 he enlisted in the Canadian Engineers in Van- 
couver and was immediately sent to France. In a short 
while he was transferred to the Royal Flying Corps. He 
was wounded in battle at Liege, where he had gone to 
school, and was sent to a hospital in Greenwich. England, 
to recuperate. When he was stronger, he was sent to 
Arizona, where he entirely regained his health. 

Leonard then went back to shipbuilding. After a few 
weeks on the job, a huge bilge fell on him and he was 
sent back to the hospital. When he was discharged this 
time, he went to Arizona and started to work in the cop- 
per mines. After two days on the job he was buried for 
72 hours in the cave-in of a shaft that was 1.475 feet un- 
derground. And so he was carried to the hospital again. 

Shortly afterward he became a travelling salesman, sell- 
ing automobile accessories and electrical appliances. How- 
ever, he soon tired of this. His next venture was auto- 
mobile racing, trying to beat the Overland Express in 
high-powered racing cars. 

He again set out for Xew Yorl 
ton as a salesman for radio sets. He travelled throughout 
the southern states and settled in St. Petersburg, Fla., for 
a while. Later he became radio editor for the St. Augus- 
tine News. Next he opened a radio shop on board a mo- 
torboat, with which he travelled from one river town to 
another, trying to interest people in radio. 

After a few years he again went to Xew York, where 
he got a job as part time announcer with Station WJZ. 
Later he handled production work. He spent a year at 
this post and then went to WABC, where he was made 
studio director. This station was the laboratory in which 
he worked out the first successful and unusual radio pro- 
ductions; using sound effects to create the desired atmos- 
phere. It was here that he originated "Nights at Tony 
Pastor's." a program of vaudeville sketches reproduced 
as they had been presented 40 years previous. 

In December, 1027. Leonard joined the sales depart- 
ment at WOR. Here, after he had created "Main Street 
Sketches" and several other striking programs, he was 
made program director. He is constantly striving for 
new effects and is ever alert for original program ideas, 
but the "Main Street Sketches' remain his particular pet. 

but wound up in Bos- 

"Behind the Mike" on Palmolive Hour 

(Continued from page 29) 
holds his arm up in warning for several seconds, and then 
with a throw of a switch drops his arm. Another gnu 
lightens his face as he releases the audience from its bond 
of silence with the cheerful call: "Party's over!" 


W h at 1 1 a laxative 

lor loveliness P 

IT may seem strange to you — bring- 
ing this word "laxative" into a dis- 
cussion of beauty! And — what, pray, 
has a laxative to do with creams and 
lotions, with fair complexions and 
young and supple skins? 

It has a great deal to do with them ! 
It is almost all- important! For, unless 
you keep clean internally, your skin is 
bound to suffer, and will always lack 
the clear, fresh bloom which every 
woman wants! 

Those tiny blemishes which baffle 
the cleverest cosmetics can be defeated by 
Sal Hepatica! Women who know the 
saline method, who use salines as the 

family laxative, know how quickly they 
purify the bloodstream and bring new 
color and translucence to the cheek. 

In Europe, the wonderful saline 
springs have for years been thronged 
with men and women sent there by 
their physicians to drink the saline 
waters for the sake of their complexions 
and their health. 

ual Hepatica is the American equiva- 
lent of these saline springs. It rids the 
body of poisons and acidities. That is 
why its use is a great relief for head- 
aches, colds, rheumatism, auto-intoxi- 
cation, constipation, indigestion, com- 

Jsjal |-|cpatica 

plexion disorders and many other ills. 

Sal Hepatica, taken before breakfast, 
is speedy in its action. Rarely, indeed, 
does it fail to act within thirty minutes. 

Get a bottle today. Whenever con- 
stipation threatens your complexion 
with blemishes and "broken out" spots, 
take Sal Hepatica. And send now the 
coupon for the booklet which tells in 
detail how Sal Hepatica keeps your skin 
fresh and free from blemishes and how 
it relieves many common family ills. 

Bristol-Myers Co.,Dept.RR- 129,71 West St. ,N.Y. 
Kindly send me the Free Booklet that explains 
more fully the many benefits of Sil Hepatica. 







Be guided by a name that has meant absolute tube integrity for the past 
fourteen years. -:- The name is Cunningham — choice of the American home. 



Manufactured and sold under rights, patents and inventions owned and or controlled By Radio Corporation of America 

REVUE '4*- 



)'s Queen of Beauty 

In This Issue: 

All About 



Radio Girl" 

Prize Letters 


Rudy Vallee 


Slumber Hour 

Changes Habits 

of Listeners 

Lucrezia Bori 

tells Why she 

Likes Radio 

Other Features 


<^f num uou mia/it to y read 

The Tragedy of Neglected Gums 

Cast of Characters : 
Your Dentist and You 

you: "My gums are responsible for this 
visit, doctor. I'm anxious about them." 

d.d.s. ."What's the matter?" 

you: "Well, sometimes they're tender when 
I brush my teeth. And once in a while they 
bleed a little. But my teeth seem to be all 
right. Just how' serious is a thing like thisl" 

d.d.s. :"Probably nothing to bother 
about, with a healthy mouth like 
yours. But, just the same, I've seen 
people with white and flawless teeth 
get into serious trouble with their 

you: "That's ii-hat worries me. Pyorrhea 
— gingivitis — trench mouth — all those hor- 
rible-sounding things'. Just a month ago a 
friend of mine had to have seven teeth 
pulled out. 

d.d.s.: "Yes, such things can happen. 
Not long ago a patient came to me 
%vith badly inflamed gums. I x-rayed 
them and found the infection had spread 
so far that eight teeth had to go. Some 
of them were perfectly sound teeth, 

you: QAfter a pause) "I was reading a 
dentifrice advertisement . . . about food. 

d.d.s. : ' 'Soft food? Yes, that's to blame 
for most of the trouble. You see, our 
gums get no exercise from the soft, 
creamy foods we eat. Circulation lags 
and weak spots develop on the gum 
walls. That's how these troubles begin. 
If you lived on rough, coarse fare your 
gums would hardly need attention." 

you : "But, doctor, I can't take up a diet of 

73 West Screet, New York, N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to cover 
partly the cost of packing and mailing. 

Name . . 
Address - 
City .... 


raw roots and hardtack. People would 
think I'd suddenly gone mad." 

d.d.s.: "No need to change your diet. 
But you can give your gums the stimu- 
lation they need. Massage or brush 
them twice a day w r hen you brush 
your teeth. And one other suggestion: 
use Ipana Tooth Paste. It's a scientific, 
modern dentifrice, and it contains 
special ingredients that stimulate the 
gums and help prevent infection." 


L.n imaginary dialog? An imaginary 
"you"? Admittedly, but the action is 
real. It is drawn from life — from real 
tragedies and near-tragedies enacted 
every day in every city of the land! 

And if dentists recommend Ipana, as 
thousands of them do, it is because it is 
good for the gums as well as for the 
teeth. Under its continual use, the 
teeth are gleaming white, the gums 
firm and healthy. For Ipana contains 
ziratol, a recognized hemostatic and 
antiseptic well known to dentists for 
its tonic effects upon gum tissue. 

Don't wait for "pink tooth brush" 
to appear before you start with Ipana. 
The coupon brings you a sample which 
will quickly prove Ipana's pleasant 
taste and cleaning power. 

But, to know all of Ipana's good ef- 
fects, it is far better to go to your near- 
est druggist and get a large tube. After 
you have used its hundred brushings 
you will know its benefits to the health 
of your gums as well as your teeth. 

ssr; ^s-s^a-s-s-a-s-T^s-^-r^r s •^s---? »>^«» 

©GIB & 9770 



Volume I Number 2 January, 1930 


On the Cover: Olive Shea, Actress, WABC By Jack F. Tester 

Vaughn de Leath, the "Original Radio Girl" By Gaspano Ricca 2 

Oscar Writes Margy all about the "Original Radio Girl" By P. H. W. Dixon 3 

Outlook for Radio in 193 Highly Promising By William S. Paley 5 

Famous Radio Couples (Photographs) 6 

Ohio Soprano and Georgia Tenor Win Atwater Kent Auditions 7 

1929 the Greatest Year in the History of Radio By Merlin H. Aylesworth 8 

Radio Gives Dan Cupid a Helping Hand By Allen Hagliuui 10 

Consider the Actor: Every Show a First Night on Radio By Herbert Devins 11 

Achieves Stardom in Few Months (Photograph) 13 

Slumber Hour is Changing Habits of Listeners 14 

Moonlight Sonata By Alice Rem sen 1 5 

Mr. Fussy Fan Admits that He is a "High Brow" By Fussy Fan 16 

Radio Boasts Own Dramatic Star (Photograph) 19 

Browne and His Banjo Moulded Career Together By Robert Taplingcr 20 

Metropolitan Star Puts Stamp of Approval on Radio . . By Willie Perceval-Monger 21 

Merle Johnston Succeeds by Virtue of his "Sax" Appeal By Jeanette Barnes 23 

Will Radio Wonders Never Cease? By I. B. Hansom 24 

Maid for any Mood (Photographs) 2 5 

A VALLEEdictory By Dale Wimbrow 2 6 

Mere Man Wins First Prize in Rudy Vallee Contest 27 

Static from the Studios 28 

Radio Gave Gypsy Violinist Chance to Become Famous By Bruce Gray 29 

Turned to Singing After Accident (Photograph) 3 1 

America's Radio Programs Lack Variety and Imagination . By Julius Matt f eld 3 3 

Editorials: RADIO REVUE Thanks You; The Theatre of Illusion; Put an End 

to This Panic 34 

Ether Etchings 3 5 

Program Notes 37 

Colorful Russian Soprano is "La Palina" (Photograph) 3 8 

Listeners' Forum 39 

Radio in the Home (Edited by Mrs. Julian Heath) 40 

Bruce Gray, Editor 
Contributing Editors: 

Allen Haglund H. Raymond Preston 

Mrs. Julian Heath Walter H. Preston 

Willie Perceval-Monger K. Trenholm 

Published monthly by RADIO REVUE, INC., Six Harrison Street, New York, N. Y., H. Raymond Preston, President; Benjamin 
F. Rowland, Vice-President; Walter H. Preston, Secretary and Treasurer; George Q. Burkett, Advertising Manager. Manuscripts 
and photographs submitted for publication must be accompanied by sufficient postage if their return is desired. Advertisiny 
rates will be gladly furnished upon application. Copyright, 1930, by Radio Revue, Inc. All rights reserved. Printed in U. S. A. 

Subscription Prices: United States, $2; Canada, $2.50; Foreign, $3; Single Copies, 25c 


Vaughn de Leath, the "Original Radio Girl 


JANUARY, 19 3 

Oscar Writes Margy 

all about the 

Radio Girl 


As Rescued from the Waste Basket 
By P. H. W. DIXON 

Well, Margy, here I am in the big city and in 
the radio business and am making good in a great 
big way. Now, Margy, don't say I'm forgetting all my 
friends back in Yoakum just because I'm a city man, but 
honest, baby, I've been so busy I haven't had any time at 
all. I've been getting fitted into my new uniform, as all the 
page boys at the NBC wear uniforms and look pretty slick. 

I'll never forget that night we parted, Margy. Never. 
Though it may be forever. And to show you that I 
haven't forgotten even the unimportant things you said 
— even that joke about not to take any wooden nickels — 
I have been doing some sleuthing and have got the whole 
life history of Vaughn de Leath that sings exclusively 
over our networks. 

Naturally, Margy, in my new position of page at the 
NBC I come in intimate contact with a lot of celebrities 
— I bought Graham McNamee a pack of gum the other 
day — and I'm getting sort of used to them. But even I 
got a thrill when I met Vaughn de 
Leath. Of course, it was a sort of 
informal meeting. She was in a 
studio rehearsing with Hugo Mariani 
— you ought to meet Hugo, Margy, 
he's got whiskers just like the Green- 
wich Village artist like we saw in 
that movie "The Bohemian Love 
Song" — and someone called her on 
the phone and Miss Campbell, who 
was hostess on duty, sent me in to 
get her. So I walked right up to her 
and said: 

"Pardon me, Miss de Leath, but 
you are wanted on the phone."' 

She Gave Me a Big Smile 

And she said it must be Presi- 
dent Hoover or somebody, but it 
wasn't because I heard her call the 

I've been getting fitted into my new 

person Gladys. But, 
as I was going to 
say, she looked at 
me and gave me a 
great big smile and 

"You're a new 
studio attashay 

aren't you?" I told her I was and she said she was sure 
we'd be friends. She's smiled at me five times since and 
that was only two weeks ago. 

But I was going to tell you that I found out all about 
her. First she was born in Mount Pulaski, Illinois, which 
is just a small town like Yoakum. But that's no handicap 
because most people in New York who are important 
come from small towns and she went to California with 
her parents at an early age. I couldn't believe that, be- 
cause she didn't even mention California when I met her, 
but she really did. She had a musical education in Cali- 
fornia and sang on the concert stage 
out there. 

Of course, though I haven't men- 
tioned it, the real reason I came to 
New York was in order to be a great 
radio singer myself, but I don't 
guess I started soon enough. Would 
you believe it, Marge, Miss de Leath 
started her career when she was 
three years old back in Mount Pul- 
aski. She sang in a home-town 
minstrel show like the Yoakum 
B. P. O. E. gives every year, when 
she had just passed her third birth- 
day. And there was a big write-up 
in the Mount Pulaski News about 
young singers showing great promise. 
That was one time the newspaper 
was right, Margy. 

Even after she made the trip to 
California and found everyone out 


there was more interested in how you screened and not 
how you screamed (pretty good, hey?) she continued her 
musical career. She wasn't out there long before she was 
twelve years old and had organized and was conducting 
an orchestra. And then she wrote a song called "Old 
Glory, I Salute You." 

Published Twenty Years Later 

There's another lesson in that because she didn't find a 
publisher for that song until about twenty years later. 
But now it has been published and when I get to know 
her better I'll send you an autographed copy. But she 
wrote some other songs — when she was a little girl I mean 
— and she sold one of them. I 
know just how she felt — you 
know, the emotion you get 
when you first do something 
important. I'll never forget 
the time I sang a solo at the 
public school graduation a few 
years ago. 

But I was telling you about 
the Original Radio Girl. Af- 
ter she'd got a musical educa- 
tion she sang in some concerts 
and then she decided to go 
to New York and be a suc- 
cess. Which she did. She 
came east in 1919 and made 
some phonograph records and 
didn't attract much attention 
because New Yorkers are kinda 
down on Californians because 
they're always talking abcuL 
California sunshine and they 
always pick a rainy day to 
talk. But I gather she had a 
pretty hard time of it and 
they do say she lived for a 
whole week on a can of cocoa 
and has never felt the same 
about cocoa since. 

But about that time some- 
body invented radio or broad- 
casting or maybe both, and 

Miss de Leath decided she would be a radio star. Which 
she did. She went down to a building on Fortieth Street 
— that's one of the important streets here — about as im- 
portant as Congress Street is to Yoakum — and she climbed 
up into the tower and there was a microphone and an ac- 
cordion player, and Dr. De Forest said, "Well, it looks 
like we're gonna broadcast," and Miss de Leath said, "Okay 
by me" or something like that and with those simple 
words she started singing and became the Original Radio 
Girl. I forgot to tell you that was the first time a woman 
had ever broadcast but they've been at it ever since. That 
was ten years ago this month. And she has her first fan 
letter she received about that time but not the dress she 
wore. That proves it. I mean that proves she thinks 
more about her public than her clothes, which is what a 
great artist should do. I'm going to be like that, Margy, 
as soon as I get my first fan letter. 

Well, after Vaughn — I mean Miss de Leath — though I 
always think of her as Vaughn, Margy, — but anyway, 

She looked at me and gave me a great big smile. 

after she had sort of started the custom of singing on the 
radio, a lot of other people tried it and pretty soon it got 
so you could buy radio sets on the installment plan or 
the parts at the five-and-ten and radio became a great 

Well, Miss de Leath after a while started to listen to 
other women sing and she read a lot of smart cracks 
about radio sopranos, so she decided after they'd worn 
out the jokes about sopranos they'd get around to the 
contraltos, which she was, so she invented a new style of 
singing called crooning. Now you know, Margy, when 
we listen to Vaughn de Leath back home you can hear 
her in the kitchen if the speaker is turned up, but honestly, 
Margy, you wouldn't believe it, but you can't hear her 

in the studio when she sings. 
Now I'm going to have to 
get technical, Margy, and you 
may not understand all this, 
but the reason you can't hear 
her in the studio, but can hear 
her in Yoakum, is because of 
technicalities. She sort of 
gets awfully close to the mi- 
crophone and sings in a low 
voice to it, soft and sweet like, 
and then they take that little 
low voice and magnify it with 
electricity and you have croon- 
ing. She can sing in a loud 
voice too and it is pretty swell 
but the low voice is easier on 
the tubes which cost money. 
They do say that was the rea- 
son she really invented croon- 
ing in order to save tubes back 
in the old days when they 
didn't have many, but I think 
she did it just to be different. 

You'll probably be glad to 
know that she's married, 
Margy, — not that I had any 
serious intentions or anything 
because you are the only girl 
in the world for me — but I 
know you have been worrying 
about me up here among all 
these beautiful women, though you know I have a strong 
character and will not be led astray by a Broadway butter- 
fly. Now I don't mean Miss de Leath is a Broadway but- 
terfly — because she isn't. She's very nice and doesn't 
smoke and would rather go to the opera than to Texas 
Guinan's if she was open, but I mean there are lots of 
Broadway butterflies. But don't you worry — none of this 
wild night life for me. I have my career to think of. 

Many Frenchmen Propose 

But I was going to tell you about Vaughn — I mean 
Miss de Leath. Singing in the Voice of Firestone every 
Monday night isn't the only thing she does. She makes 
phonograph records and writes music and songs and makes 
personal appearances. Her records are popular not only 
in this country but in France, and every time a ship comes 
in she gets letters from Frenchmen proposing marriage. 
{Continued on page 45 ) 

JANUARY, 19 3 

Outlook for Radio 





President, Columbia Broadcasting System 

WHEN I consider the outlook for radio in 193 0, my 
reaction is one of real pride. My feeling of pride 
particularly wells up when I think of the progress 
made in radio broadcasting during the past year and of 
the part my company has played in refining its programs. 
"When I contemplate 193 I anticipate even greater prog- 
ress than during 1929. I look forward to a happy and 
prosperous New Year. 

During 193 0, the Columbia Broadcasting System, will 
present to audiences over its network, the country's fore- 
most concert, operatic, stage and screen talent and the 
most distinguished speaking talent on the radio, in addi- 
tion to comprehensive programs of an educational nature. 
Whereas Columbia's growth in coverage during 1929 
brought us to a total of sixty-five stations, plans now 
under way will provide for Columbia during 193 a net- 
work that will reach practically every radio receiving set 
in the United States, a large portion of Canada, Cuba, 
Porto Rico and Mexico. 

With the recent granting of a license for increased 
power to WABC, key station of the Columbia network. 

we shall put into operation, early in 193 0, our new plant 
of 5 0,000 watts power. 

During 1929, the Columbia Broadcasting System Farm 
Community network was inaugurated under the direc- 
tion of Henry A. Bellows. This network, emanating 
from the center of the nation's great farm community, 
already is an assured success. Its programs are devised 
by leaders in agricultural life and, through the inter- 
changeability of member stations, assures a lasting network 
of importance to the great farm belt. 

Columbia's headquarters organization has been amplified 
during 1929 by the addition of department heads of wide 
experience in their several fields. Their added efforts in 
strengthening the Columbia Broadcasting System are now 
beginning to bear fruit. 

Columbia, on the whole, faces 1930, assured that its 
growth during the ensuing year will be even greater than 
in any year in its history. 


Famous Radio Couples 

The "Two-Person 
Revue" on the 
Brown - bilt Hour, 
CBS, is really a 
family affair. 

Kathleen and Gene 
Lockhart (at left). 
are — and it's not 
actually a secret — 
Mr. and Mrs. Lock- 

JANUARY, 19 3 

Ohio Soprano and Georgia Tenor 
Win Atwater Kent Auditions 

Both Singers Aspire to Concert Work 
In Preference to Operatic Careers 

MISS GENEVIEVE I. ROWE, 21 years old, of 
Wooster, Ohio, has returned to her home. So 
also has Edward A. Kane, 22, of Atlanta, Ga. 

This fact, under ordinary circumstances, would be of 
little interest outside their immediate circle of family and 
friends. But Miss Rowe and Edward Kane aren't in ordi- 
nary circumstances these days. They are the winners of 
the National Radio Auditions, finals of which were held 
in New York, Sunday night, December 15 th. 

As such, they returned to their homes burdened with 
honors, memories of gala 
entertainment, t u i tions, 
broadcasting contracts and 
cash prizes. Returned to 
the glory of the prophet 
who brings honor on his 
or her home town. Re- 
turned to fresh honors 
from their own people 
that pale in magnificence 
only before those they re- 
ceived in the National 
Capitol of Music — New 

Also, it might be noted, 
they returned home to 
prepare afresh for study in 
the concert field, from 
which both turned aside, 
momentarily, for their ef- 
forts in the auditions. 

Grand opera holds little 
charm for this year's radio 
winners, both declared, 
soon after they had re- 
ceived their awards. 

"I am interested only in the concert stage and it is in 
this field that I will endeavor to carve a place for myself," 
they chorused almost as one when they received their 
awards of $5,000 each at the conclusion of the audition 
finals through the NBC system. 

Both declared they had never had other than concert 
ambitions, and that they would devote the two years of 
study, furnished by the Atwater Kent Foundation as 
part of the award, to furthering their early wishes. 

"Unless the lure of the microphone proves too strong," 
Miss Rowe, who made her radio debut during the prelim- 

inary auditions, declared, "I plan to remain entirely in 
concert work." 

Kane expressed himself as equally fascinated by broad- 
casting. Both declared they got the biggest thrill of their 
lives in the knowledge that they were singing through a 
coast-to-coast network in the audition finals. 

The youthful Georgian, "the big fellow with the strong 
tenor voice," has been a vocal student since he was 17. 
And Atlanta folks knew him long before he had even 
thought of this year's auditions. 

Long before he began 
serious voice study, Kane 
was regarded as a "boy 
with a good voice." 
Quartets were considered 
incomplete unless he sang 
the tenor and he was called 
on often as soloist before 
clubs and churches. 

Active in College Glee 

During his student days 
at Emory U n i v ersity, 
young Kane was noted for 
his activity on the college 
glee club. It was there 
that his voice drew atten- 
tion of Atlanta's musical 
people and launched him 
on a career of serious 

For the past several 
years the youth, who grad- 
uated from the university 
with an A. B. degree, has been soloist of the North Avenue 
Presbyterian Church, in his home city. He is a son of 
M. H. Kane, a banker. 

Although he has no aversion to formal dress — in fact, 
"rather likes it" — Kane was the only one of the five male 
singers competing in the audition finals to appear in street 

"Gee, I feel rather out of place," he remarked just be- 
fore he started singing his "Celeste Aida'' into the micro- 

(Continued on page 46) 

ting Checks to Winners. 


1929 the Greatest Year 

in the 





President, National Broadcasting Company 

WIDENING the horizons of broadcasting to the 
point at which it is no longer visionary to think 
of presenting programs to the whole world has 
made 1929 the most significant year in the short history 
of radio entertainment. 

A year ago we felt that we had seen a notable advance 
when the establishment of permanent trans-continental 
networks made it possible to present to the whole nation a 
program of entertainment or an import-ant event from 
almost any point within the nation, on short notice. 

This year we have made a beginning in international 
broadcasting. The experiments of our engineers, working 
with the engineers of European broadcasting companies, 
have convinced us that it should be possible to exchange 
programs across the Atlantic on a fairly regular schedule. 
We are working at present with England, Holland and 
Germany, and the coming year should see this work bear- 
ing fruit in the 
form of regularly 
excha n g e d pro- 

While we do not 
now c o ntemplate 
goi ng beyond 
Europe for inter- 
national programs, 
it is quite possible 
that our engineers 
will find it practi- 
cable to begin def- 
inite experiments 
with picking up 
programs from the 
other side of the 

With each of Fanner Governor Smith before 

Harris C> Euiug 

Merlin H. Aylesworth 

this year's programs from the other side of the Atlantic, a 
definite improvement could be noted. The National 
Broadcasting Company's first attempt of this nature was 
on February 1. On that day our listeners heard an or- 
chestra playing in Queen's Hall, London. Atmospherics 
were.' bad but, when we rebroadcast the Thanksgiving ser- 
vice for the recovery of King George, reception was im- 

By the time we picked up the Schneider Cup Races on 
September 7, the engineers had reached the point where 
they could make every word heard, 
and even allow our listeners to hear 
the motors of the speeding planes. 
Einstein's speech from Berlin on 
October 21 was marred to some ex- 
tent by static, but the special pro- 
gram fcr America, broadcast from 
Huizen, Holland, five days later, 
came in as clearly as if it had come 
by wire from a point in the United 
States. Who can tell what advances 
may be made next year? 

The thrill of hearing voices and 
music on the other side of the Atlan- 
tic was but one phase of activity in 
the greatest year of radio. For the 
first time, the ceremonies incident to 
the inauguration of a President of 
the Mike the United States were carried 

J ANU ARY , 19 3 

throughout the nation by our networks. Half a dozen 
radio reporters, including one in an airplane, covered the 
story of Herbert Hoover's induction into office. For the 
first time, a microphone was installed in the United States 
Senate Chamber for broadcasting the oath of Vice-Presi- 
dent Curtiss. Calvin Coolidge's farewell to public life was 
broadcast from the train that carried him into retirement 
in Northampton, not far from his early home. 

B r o a dcasting 
the inaugural was 
only a part of 
radio's reporting 
of the govern- 
mental and politi- 
cal story of the 
year. Most of the 
cabinet members 
of t h e Coolidge 
and Hoover ad- 
mi n i s t r ations 
stepped b e f o re 
microphon e s in 
the NBC's New 
York and Wash- 
ington s t udios, 
and a series of 
programs entitled 
"H a 1 f Hours 

with the Senate" presented a large number of members of 
that important body. A number of Representatives ap- 
peared over the air, as did Bureau Chiefs and experts from 
a large number of departments. Interpretations of Wash- 
ington events were broadcast by David Lawrence, William 
Hard and several others among the Capital's outstanding 
newspaper correspondents. 

A new schedule of religious broadcasting affords the 
maximum variety of ser- 
vice to our listeners. In 
co-operation with the Fed- 
eral Council of Churches 
we are now presenting 
five distinct series, each 
with a specific work to 
perform. The Jewish faith 
is now represented on the 
air with a new and more 
elaborate religious pro- 
gram. The Roman Cath- 
olic Church has made use 
of our facilities during the 
year in connection with a 
charity campaign, and it 
is expected that this 
church will inaugurate 
radio r e 1 i gious services 
after the first of the year. 

In music, the country's 
most distinguished con- 
ductors, singers and in- 
strumentalists have fea- 
tured the year's entertain- 
ment. Walter Damrosch 

has inaugurated a three-year schedule of Music Apprecia- 
tion concerts designed for the schools, and is heard each 
week as conductor of a symphony program for adults. The 

President Hoover Addresses the Nation 

Wide World 

Jack Dempsey Embarks as Boxing Promoter. 

Graham McNamee (left) turns over the 

Mike to Jack (right) at first bout latter in Chicago Coliseum 

Rochester and Cleveland Symphonies have been broadcast . 
again, and Leopold Stokowski has brought the Philadelphia 
Symphony orchestra to the microphone for the first time. 

The Chicago Civic Opera Company's presentations are 
being offered to the listeners this year on a sustaining 
basis, and the Puccini operas are being broadcast for the 
first time. An opera, "Ombre Russe", written by Cesare 
Sodero, the conductor of our own National Grand Opera 

Company, had its 
premier over the 
air, with a dis- 
tinguished audi- 
ence of critics 
and m u s icians. 
Sir Harry Lauder 
made his micro- 
phone debut, 
John McCormack 
returned to the 
microphone after 
an a b s e nee of 
three years, and 
practically every 
opera and con- 
cert star and al- 
most every dis- 
tinguished musi- 
cian per formed 
for the radio audience on nationwide networks. 

Throughout the year there has been a multitude of not- 
able events on the air. Let me cite a few as samples. 
January brought such diverse diet as the welcome to Cap- 
tain George Fried and the radio operators of the America 
after their rescue of the crew of the Florida, President 
Coolidge's budget speech, former Governor Smith's ad- 
dress on January 16, the dedication of the Great Northern 
Railroad's Cascade tunnel, and the first en- 
durance flight broadcast, that of the Ques- 
tion Mark. 

In the next month, besides the Queen's 
Hall broadcast, we had two speeches by 
President Coolidge, Edison's birthday ad- 
dress, the broadcast from a plane followed 
by one from a tunnel under the East River, 
the opening of "Half Hours with the Sen- 
ate" and the Sharkey-Stribling boxing 
match from Miami. 

In March, after we had done the inaug- 
ural, we broadcast a talk by Captain Sir 
George Hubert Wilkins, the Antarctic 
flier, the motorboat race between Commo- 
dore Gar Wood and Major H. O. D. Sea- 
grave off Miami, and the Mickey Walker- 
Tommy Loughran fight in Chicago. 

April saw the opening of the Universal 

Safety Series, a campaign to reduce accident 

casualties, Governor Roosevelt's address to 

the State Economic Congress, addresses by 

President Hoover, the award of the medal of 

the American Academy of Arts and Letters 

for good diction on the radio to Milton J. 

Cross, and the opening of the baseball season. 

Former Vice President Dawes was heard in May, and 

President Hoover spoke again. The Army air maneuvers 

(Continued on page 48) 



Radio Gives Dan Cupid 
a Helping Hand 


AS every little boy and girl knows, it's love that 
makes the world go 'round. Next to food and drink, 
love is really the most important thing. Some will 
even argue that it comes before food and — well, it all 
depends on the drink. 

But love, however primal and powerful an urge, must 
have a vehicle, must have those little encourage- 
ments that tend to get a thing started — whether it is a 
stock panic, a bad cold or, as in this case, an af- 
fair of the heart. And radio, that great new Ameri- 
can institution, can rightfully claim that it has done 
its part in furnishing impetus to keep the parsons busy 
and the Lohengrin wedding march a popular tune. As a 
matter of fact, when you come down to it, radio is one of 
the best little aids to courtship that Old Dame Nature and 

her special agent, Dan 
Cupid, ever had. 

At this point some per- 
verse and argumentative 
soul, with a pocketful of 
statistics, may step up and 
say that the figures on 
marriages show that the 
custom of joining in holy 
matrimony is dying out, 
that the boys and girls 
think it too old-fashioned 

or expensive, or something. He may pull out one of his 
deadly graphs on me and try to show that, although radio 
has been popular for the past six or seven years, the curve 
indicates that marriages continue to drop off. 

But will I be nonplussed? Will I bow down before his 
silly old graph, admit the fallacy of my statements and 
cease writing this splendid article? On the contrary; with 
unerring strategy, I shall concede his major premise that, 
as his curve indicates, marriages are less frequent; then, 
continuing with my article, I shall go on to prove, to his 
utter demolition, that marriages would have been still less 
frequent, had it not been for the coming of that great new 
life-moulding influence, radio. 

Remember the Early Days? 

Remember the early days of radio, when 
crystal sets and earphones were the latest 
thing? There were deadly instruments for 
you! Of a Wednesday evening a fellow would 
get a shave, a shine and a dash of Keepcomb, 
and drop in to see little Penelope — just a 
friendly call, you know, with maybe a kiss or 
two as the evening waxed. 

But there was Penelope with a brand new 
crystal receiver, and no help for it but to get 
together and jiggle the cat's whisker to bring 
in a station or two. With heads touching and 
only one earphone where two might well have 
been, it wasn't very long before the tingle of 
her hair on his cheek made him tell her, to the 
tune of a throbbing fox trot in his ear, how 
very much he cared, and Dan Cupid, the vic- 
tory won, sang a paean of praise to the fair 
(Continued on page 42) 

JANUARY, 19 3 


on Radio 


CONSIDER the actor. 
He needs consideration — in radio. The lowliest 
trouper on the three-a-day dreams some day to see 
his name in electric lights on Broadway. This is some- 
thing tangible and real: the flashing lights that spell his 
name can be looked at and remembered. 

But then his radio struggle is just beginning. The 
climax of his stage career is just the starting signal for 
offers from the radio studios. And this way leads to 

For here there are no blinding lights to remind the 
audience who plays the part. Just a simple announce- 
ment of the actor's name, slid gently through a gleam- 
ing disc to disappear forever into the blackness of the 
night — like trying to write his name in water, or the 
forgetful sand. 

Consider the actor's plight. He hopes to win a nation- 
wide audience with only one performance — and every per- 
formance is a "first night" on radio. There are no runs 
and no printed programs to be taken home for remem- 
brance. The show does not go on before packed houses 
brought there by the en- 
thusiasm of previous audi- 
ences. Just one brief hour 
or less in a single evening 
that is crowded with other 
features, all clamoring for 
a chance to impress their 
own particular message up- 
on the listener's memory and 
few actually doing so. 

And yet consider the 
actor's hope. He knows 
that this same forgetful 
microphone is the avenue 
to greater audiences in a 
single night than can be 
crowded into a Broadway 
playhouse in a year's suc- 
cessful run. Harvey Hays 

Consider the Actor : 

Every Show a 

First Night 

The Famous Balcony Scene from "Romeo and 

Julie f as played recently over the air by Eva 

Le Galliennc and Donald Cameron 

No wonder he thirsts for just the chance to try his 
skill in winning this wayward host of slipper-clad, com- 
fortable stay-at-homes. They're all human, he knows, 
and subject to the same emotions at their firesides that 
they experience in any theater. Perhaps he may be able 
to touch the secret spring that enables his voice to wring 
their hearts. 

And if he wins — what need then of electric lights down 
a side street off Broadway? Then the greatest audience 
in the world will be his — and ten million Americans can't 
be wrong. 

Every actor feels that no one yet has realized the full 
possibilities of radio. There have been several major 
triumphs, it is true, but even the heroes and heroines of 
these shiver to think of their fate had they not earned 
the right to follow up their advantage in further broad- 

Shipwreck Tale Enjoyed 

Already the dramatic studios of the NBC in New York 
have their legends of signal triumphs. Perhaps the great- 
est of these was scored by one who is not even an actor 
— "Red" Christiansen, the hero of the famous Galapagos 
broadcast, which radio listeners demand to hear repeated 
at least once every year. He was the sole survivor of a 
shipwreck on the Galapagos Islands, and recreates his 
Robinson Crusoe adventures in intensely dramatic style. 

Another ray of hope to the despairing radio actor is 
the success of Rosaline Greene, Eveready's leading lady, 



who recently repeated her famous radio portrayal of the 
historic "Joan of Arc." 

Few Real Air Personalities 

Besides these, there are only a few really outstanding 
air personalities, who can be numbered almost on any one's 
two hands. There are only a few who have really suc- 
ceeded in carving their names in the ether, so to speak. 
Harvey Hays, Pedro de Cordoba, Frank Moulan, Charles 
"Webster, Arthur Allen, Alfred Shirley, Loren Raker, 
Helene Handin, Marcella Shields, Florence Malone and 
Virginia Gardiner head the list. 

A few more, of course, have succeeded in varying de- 
grees in the difficult task of making their voices alone 
present a vivid personality through millions of loudspeakers 
from coast to coast. These are the ones with little black 
stars after their names in the "theatrical bible of the air," 
the radio who's who, under 
lock and key in the casting 
offices of the NBC. 

There are five black books 
of them already, these clas- 
sified lists of eligible actors 
for parts in radio dramati- 
zations. Practically all the 
important names of the 
American theater are there, 
with a condensed report of 
their auditions, and a sum- 
mary of their stage records. 
That's why they're kept 
under padlock, to protect 
the findings of radio cast- 
ing directors who listened 
critically to trial broadcasts 
that got only as far as the 
audition chambers — just be- 
yond a soundproof glass 
window, usually. 

None of these "perfect 
radio voices" was acquired 
by accident. They were de- 
veloped through gruelling 
years in the theater, by 
learning every trick of in- 
flection and modulation 
which might help to in- 
tensify the emotions evoked by the lines. 

Fifteen years ago this same Harvey Hays was on the 
stage, winning stardom in such outstanding hits as "Lord 
and Lady Algy," in which he appeared with Maxine 
Elliott and William Faversham; in "Romeo and Juliet" 
with Ethel Barrymore, and with Tyrone Power in "The 
Servant in the House." 

On Radio While on Broadway 

Pedro de Cordoba, heard weekly as the narrator of the 
Westinghouse Salute, kept his Broadway appearances run- 
ning concurrently with his radio performances. He was 
with Jane Cowl in "The Road to Rome" and more re- 
cently in "See Naples and Die," by Elmer Rice, who also 
wrote the Pulitzer prize play, "Street Scene." 

One actor, who is heard in broadcasts of NBC light 


opera and productions of the Radio Guild, played with 
both Sarah Bernhardt and Walter Hampden. His name 
is Ted Gibson, and he also played the lead in that great 
Broadway hit, "Turn to the Right." Before that he 
played in works of Anne Nichols, of "Abie's Irish Rose" 

Charles Webster, who created for the radio such char- 
acters as Cyrano de Bergerac and Beau Brummel, has also 
repeated the role he created on Broadway, that of Halmer 
in Ibsen's "Doll's House." He continues to distinguish 
himself with the Radio Guild, NBC's laboratory of classic 
radio drama, directed by Vernon Radcliffe. 

Regular members of the cast for Radio Guild produc- 
tions include such noted footlight artists as Charles War- 
burton, distinguished Shakesperian actor who headed his 
own company abroad; Josephine Hull from the Theater 
Guild; Peggy Allenby, former star of "Among the 
Married;" Alma Kruger, from Eva le Gallienne's company, 

the Civic Repertory; Etien- 
^ * ne Girardot, Frohman star 

who created the lead in 

"Charley's Aunt" — but 

why go on? 

i i },:■. 

Rosaline Greene and Alfred Shirley in a Scene from 
"Famous Loves" 

Face New Problem 

They're faced with an 
entirely different problem 
now. Not that they're all 
discouraged. Harry Neville, 
who is the Dudley Digges 
of the air, says he thor- 
oughly enjoys the irony of 
playing in one performance, 
to nearly half the world- 
wide audience that he's 
played to in forty years of 
trouping around the globe. 
Arthur Allen, who spent 
years on the legitimate stage, 
has found a most successful 
outlet for his talents in ra- 
dio. He has established a 
reputation as one of the 
leading character actors to 
appear before the micro- 
phone. His work in the 
Soconyland Sketches, Re- 
told Tales and as Gus in the Schradertown Program will be 
vividly recalled by all who have heard these hours. He 
likes radio broadcasting and is exceedingly happy in his 

But still they miss the electric lights. So next time 
there's drama on the air — consider the actor. 

Philco Hour Moves to CBS 

The Philco Hour of Theatre Memories, which has been 
a feature on WJZ for over two years, will move to the 
Columbia chain after January 1. It is said that a different 
type of program will be broadcast, one featuring an or- 
chestra and a different Broadway celebrity each week. 
None of the eld Philco cast, which included Jessica Drag- 
onette as leading lady and Colin O'More as leading man, 
will change with the Hour, but Henry M. Neely, the 
"Old Stager," will conduct the program. 

JANUARY, 19 3 


Achieves Stardom In Few Months 

Virginia Gardiner, Actress, Came Into Radio Field by Way of Concert Platform 

ALTHOUGH she has been appearing before the microphone for 
only about three months, Miss Gardiner has in that brief time 
achieved stardom in her own right. She comes from a distinguished 
Philadelphia family. She studied voice with Mme. Marcella Sem- 
brich, at the Curtis Institute of Music in the Quaker City. Her 
voice is a dramatic soprano. She was invited to sing grand opera 

with a Pennsylvania organization, but declined in order to con- 
tinue her dramatic -work. Miss Gardiner lives quietly -with her 
family in New York. Hers is a vibrant personality, glowing with 
latent fire. She has been heard on Mystery Hour, Westinghouse 
Salute, Great Northern, Empire Builders, Triadrama Radio Guild, 
The Eternal Question and Famous Challenges, all NBC programs. 






I LUMBER MUSIC is it? Why I'd stay up all 
night to listen, if they'd play that long!" 
That's the comment of one discriminating 
listener on the alleged soporific effect of the NBC's nightly 
"Slumber Hour." 

The great majority of listeners find the late broadcast 
soothing. They say the placid depth of the master works 
presented lulls away the cares cf the day and prepares 
them for a restful sleep. This program is even changing 
the habits of some of the early-to-beds. Ex- 
pert musicians, however, have discovered that 
the "Slumber Hour" group is a complete little 
symphony of unusual versatility. 

Just glance at the members of the orchestra 
— the original "Slumber Hour" group now in 
their third year of nightly broadcasts. The 
secret of their never-failing popularity is now 
revealed — they're a group of the finest musicians 
in the NBC's big symphony orchestra. 

Ludwig Laurier, the conductor, is a former 
first violin and orchestra manager from the 
Metropolitan Opera during Toscanini's reign. 

Raphael Galindo, violinist, comes from the 
Madrid Symphony Orchestra, and is a featured 
soloist in his own right with the Russian Cathe- 
dral Choir on the air Sunday nights. 

Angelo Sasso, violin, is a pupil of the great 



Kneisel and a star performer in radio symphonies. 

Samuel Zimbalist, viola virtuoso, is the brother of 
Efrem Zimbalist, but hides the fact in order to win recog- 
nition on his own. 

Oswald Mazzucchi, 'cello, is a former solo 'cellist of 
the Philharmonic Orchestra. 

Milan Smolen, piano, is a versatile genius who was chosen 
as entr'acte soloist for the Radio Guild. Every time 
he plays a solo over the air there is a deluge of admiring 
letters from professional pianists. Robert Braine, another 
pianist who sometimes plays on the hour, is well known 
as a composer. 

Carl Weber, organ, has displayed masterly musician- 
ship in designing special arrangements of gigantic works 
which enabled the group to play them without loss of 

These are the men who have played a full hour every 
night for the last 700 nights, without interruption ex- 
cept for Sundays and emergencies, such as the Democratic 
and Republican National Conventions. 

Yet these same men frequently take part in broad- 
casts of jazz music under another name, — with what a 
difference! Nothing slumbrous about them then, as they 
sit perched on the edge of their chairs swaying to the 
syncopated rhythm of Broadway's latest dance tunes. 


Magic of Director Lanrier's Baton Litres the Spirits of the 
Old Masters 

JANUARY, 19 3 


Ten minutes later they occupy important places in a 
full radio symphony orchestra, or take part in a grand 
opera or light opera presentation. Perhaps they are heard 
as unknown soloists in a straight concert program, but 
more frequently appear as featured artists, playing con- 
certos from the pen of master composers. 

Put Radio Stations to Bed 

But they all prefer the "Slumber Hour." With this 
they "put to bed" a long list of radio stations associated 
with NBC — by playing their own favorite selections. 

Very often their programs are made up entirely of 
selections specifically requested by the radio audience. Ac- 
cording to Director Laurier, Rubinstein's "Kammennoi 
Ostrow" is the most frequently requested number. Two 
Schubert favorites are next, he says, the "Ave Maria" and 

It must be understood, however, that their programs 
are made up in advance; as much as four and five weeks 
before the actual date of broadcasting. Then, too, they 
must avoid all danger of monotony from too-frequent 
repetition of the greatest favorites, so this explains the 
apparent failure to grant some requests. All letters from 
the Slumber Hour audiences are carefully studied as repre- 
senting a cross-section of the most highly-cultured and 
discriminating listeners. These are the sort of people at- 
tracted by such music, and their express wishes are granted 
as soon and as often as possible. 

Some of the letters received by Director Laurier and 
Announcer Milton Cross (who frequently sings the "Slum- 
ber Song" at the beginning and end) are highly inter- 

One of the biggest Chicago hotels reports that it would 
lose some of its important patrons if it failed to receive 
the "Slumber Music." This hotel emphasizes a home-like, 
friendly atmosphere, and provides a cozy nook with com- 
fortable chairs and dim lights for the nightly gathering 
of regular guests who never miss the late-hour broadcast 
before retiring to their rooms. 

Changes Lady's Schedule 

A certain lady in Philadelphia, now advanced in years, 
writes that, since hearing the "Slumber Hour," she has 
given up her long-established practice of retiring early, 
but has to make up for it by taking a nap earlier in the 
evening. She says this enables her to stay up long enough 
to hear the entire program without upsetting the schedule 
of rest required by her health. 

A minister stationed in the backwoods of Canada says 
that now he, too, remains awake longer than had been 
his wont just to hear the "Slumber Music," but that he 
makes up for it by sleeping-in one hour later the next 
morning. Many letters received are in the nature of good- 
humored complaints about the broadcast "keeping them 
up too late," and many others seriously request some mea- 
sure which would bring the program to them at an earlier 

One message from Pittsburgh was signed by eighteen 
different people, who described themselves as students, 
complimenting the NBC on the high musical quality of 
this hour and suggesting certain selections to be included 
in future broadcasts. Every one of the numbers listed 
reflected a highly-cultured musical taste, and indicated an 
unusual degree of discrimination on the part of the au- 
thors of the joint communication. 

Meanwhile, Ludwig Laurier spends hours each day 
wandering among the shelves of the NBC's great music 
library, picking out the world's greatest classics for presen- 
tation by his competent group. Then another hour of 
intensive rehearsal on that night's program, which was 
made up weeks before, and the "Slumber Hour" is ready 
for the air. 

It is significant to note that the theme melody of this 
program, "Slumber On," heard at the opening and closing 
of each broadcast, is the creation of two men identified 
with radio programs from the earliest days of WJZ. They 
are Keith McLeod and Walter Preston. McLeod is now 
musical supervisor of the NBC, and Preston is a baritone 
soloist featured on many NBC programs. 


(Inspired by Robert Brai 

Solo on the "Slumber Hour") 


A White Witch is dancing on the water, 

A witch with silver arms; 

Spray is dripping from her moon-drenched fingers. 

O, White Witch, cast your spell upon me; 

Bewilder my senses with your beauty 

Before the dawn breaks my enchantment. 

Kiss me, O White Witch; 

Shower me with silver diamonds from your hair; 

Lead me up the shimmering path that burnishes the water 

Lend wings to my feet, 

That I may catch the fringe of your ecstasy 

Before it passes beyond my reach. 



Mr. Fussy Fan 

that He is a 
"High Brow 




FOR the past five years I have been a radio addict. 
That is the term that best describes a radio listener 
of the category into which I fall. With me, listen- 
ing has been practically an obsession. It took hold of me 
in much the same manner that golf makes its inroads on 
its hapless victims. When I tuned in a distant station at 
Northfield, Minn., on my first set, I received a thrill as 
great as that enjoyed by the new golfer who, for the first 
time, sees one of his drives sail far away over the hill. It 
is a thrill that gets you. 

However, I have always been able to take my radio or 
leave it alone. I have no sympathy with the calamity 
howlers who continually complain about the poor programs 
they get on the radio. In the first place, I try never to 
lose sight of the fact that all of these entertaining and 
educational programs come to me absolutely free of charge. 
Secondly, I realize that I can always exercise one of radio's 
most admirable prerogatives — that of tuning out any un- 
desirable program by a mere twist of the dial. 

My introduction to radio took place about five years 
ago, when I went to 
Station WEAF, then 
at 19 5 Broadway, 
New York, to hear 
and see a friend of 
mine, a tenor, broad- 
cast a fifteen-minute 
program of songs. It 
was all very novel and 
fascinating. I soon 
became intensely in- 
terested and bought a 
four-tube reflex re- 
ceiver. To me that 
set seemed little short 
o f marvelous, a 1 - 
though, as time went 




If a desire to hear good music rendered 
artistically stamps one as a "high brow" then 
I plead guilty to the charge. 

The late John B. Daniel was one of the 
finest extemporaneous announcers that radio 
has ever had. 

I feel that today there are entirely too 
many dramatic programs on the air. 

When it comes to music, I prefer the clas- 
sics to jazz every time. 

Milton Cross still remains my favorite an- 
nouncer, particularly for concert and op- 
eratic programs. 

For sporting events, I prefer Ted Husing. 

Among my pet radio aversions I number 
Roxy, wise-crachmg announcers, tvhisper- 
ing baritones and all contralto crooners ex- 
cepting Vaughn de heath. 

Radio listeners get too much for nothing 
and hence fail properly to appreciate what is 
done for them. 

If in no other way, radio justifies its exist- 
ence alone by bringing to the masses the 
beautiful music of our major symphony 


on and certain refinements and improvements were intro- 
duced into radio receivers, I began to realize that my set 
was not exactly the finest thing of its kind. 

In those days, as many will recall, programs were on a 
lower plane than they are today. The principal reason 
for this was that, as yet, commercially sponsored broad- 
casts had not become general. Radio was still a great toy. 
Singers and musicians of all ranks were only too glad to 
contribute their talents in order to experiment with this 
new medium of artistic expression. Some of these experi- 
ments proved to be happy ones but, on the other hand, 
many of them turned out rather unfortunately. Inas- 
much as few artists were being paid for their services, 
many crimes were, of necessity, countenanced in the 

name of radio. 

In Purely Experi- 
mental Stage 

The Clicquot Club Eskimos, Whose Dance Music 1 Enjoy 

However, radio in 
those days was in a 
pur ely experimental 
stage. As yet no 
definite radio technic 
had been evolved, and 
little had been learned 
of the real possibilities 
of this new medium. 
For this reason, the 
majority of programs 
consisted of vocal or 

JANUARY, 19 3 


instrumental recitals and lectures of various kinds. Very 
often these seemed interminable, but they were listened to 
with remarkable patience because of the element of nov- 
elty involved. 

What has always seemed rather paradoxical to me is the 
fact that radio listeners, who were paying nothing at all 
for their air entertainment, gradually became more par- 
ticular about the kind of programs they heard over the 
ether. I was no exception at that time — although I have 
since become more philo- 
sophical on the subject. 
My taste in radio programs 
steadily became more ex- 
acting. Soon I reached 
the point where I became 
annoyed and often indig- 
nant at programs of in- 
ferior quality that were 
broadcast by the big 
chains. As a result, I was 
branded a "high brow" 
by my less particular 
friends. If a desire to hear 
good music rendered ar- 
tistically stamps one as a 
"high brow", then I plead 
guilty to the charge. 

There were many pro- 
grams from which I used 
to derive a real thrill in 
the early days of radio. 
These included the Eveready Hour, Roxy's 
Gang, Maxwell House Hour under Nathan- 
iel Shilkret's direction, the Royal Hour with 
its musical comedy hero and heroine, the 
Gold Dust Twins, the A. & P. Gypsies, the 
Silver Masked Tenor, the Landay Revelers 
with Norman Brokenshire announcing, the 
Happiness Boys and the WEAF operatic 
productions under Cesare Sodero's direction. 

In those days WEAF was generally con- 
ceded to be the pioneer station and for a 
long time held the lead in program presen- 
tations. However, WJZ forged ahead rap- 
idly and soon reached the point where it "Twin" 
gave WEAF the keenest kind of competi- Above: 
tion. Regrettably enough, such rivalry no 
longer exists between these two stations, 
inasmuch as the same artists appear on both chains. If 
the old spirit of rivalry had been maintained, the present 
standard of programs would doubtless have been much 

Announcer's Part Important 

The part played by the announcer in the programs of 
the early days was exceedingly important, I am told. Upon 
his shoulders fell the task of taking a number of diversi- 
fied features and welding them into a strong unit. He 
had no written continuity to read from, as he now does, 
and so he was compelled to rely almost entirely upon his 
own personality to put across the program. Those were 
great days. They developed a group of brilliant announcers 
who came to mean as much to radio as some of its biggest 
program features. 

To my mind, the greatest staff of all-around announcers 
ever assembled by one station was the quartet that served 
WJZ in the early days. This group included Norman 
Brokenshire, than whom there is none than-whomer, Mil- 
ton J. Cross, Lewis Reid and the late John B. Daniel. The 
latter was one of the finest extemporaneous announcers 
that radio has ever had. He had an easy flow of language, 
his diction was excellent and he presented his ideas clearly 
and logically. Radio lost one of its shining lights as a 
result of his untimely passing. 

The WEAF favorites at that time were 
Graham McNamee and Phillips Carlin, who 
were often referred to as "the twins," be- 
cause of the similarity in the sound of their 
voices over the air, Leslie Joy, James Haupt, 
Ralph Wentworth and Arnold Morgan. Of 
these, McNamee is still one of radio's head- 
iners. I understand that Carlin announces 
occasionally, but is principally occupied 
with executive duties. Joy is also kept busy 
in the business end of broadcasting. The 
rest have wandered into other fields of ac- 
tivity, mostly in connection with radio. 

In any discussion of an- 
nouncers, Tommy Co- 
wan, of WNYC, must 
not be overlooked. He 
was one of the real 
pioneers. He started an- 
nouncing with WJZ in 
the days when its studio 
was located in Newark. 
He has been the moving 
spirit of New York's mu- 
nicipal station for a num- 
ber of years. He combines 
a thorough musical knowl- 
edge with a ready wit and 
an attractive radio voice 
and personality. In my 
opinion, he still ranks as 
one of the best. 

In those early days, pro- 
grams were largely musi- 
cal in character. Grad- 
ually a hue and cry was 
raised by newspaper critics 
for more showmanship 
and originality in radio. As a result, the big chains set 
about creating new types of programs. Slowly but surely 
the number of straight dramatic programs increased, until 
now the ether is crowded with offerings that have vary- 
ing degrees of merit — mostly quite poor. 

Too Much Drama on Air 

I feel that today there are entirely too many dramatic 
programs on the air. While I recognize the fact that a 
dramatic sketch has definite entertainment value, based 
largely on its continuity of idea, I believe that it likewise 
loses a large portion of its audience for that very reason. 
I know that I — and the same holds true of many of my 
friends — often like to listen to my radio more or less sub- 
consciously, while dining or playing bridge, for instance. 
At such times I could not possibly give the attention that 

Announcers of the Early Days 
: Graham McNamee; Below. 
Phillips Carlin 



is required to enjoy properly a dramatic program. 

For this reason, I venture the humble prediction that 
the program pendulum will swing slowly backward, per- 
haps not to where it was before, but at least to a point 
that will be a compromise between the old order and the 
new. At such a time I believe we will have the pleasure 
of hearing a happy blending of musical and dramatic fea- 
tures on each program. 

When it comes to music, I prefer the classics to jazz 
every time. Not that I condemn jazz. On the contrary, 
I like it immensely, when it is well done, as in the case 
of Gershwin's "Rhapsody in Blue." I believe, though, that 
this composition is so soundly con- 
structed that it will eventually 
come to be regarded as a classic. 

My preference for classical mu- 
sic is attributable largely, I believe, 
to the fact that it has real last- 
ing power, due to its firm musical 
foundation. Most of the modern 
jazz is ground out so rapidly and 
haphazardly, by men who have no 
musical background whatever, that 
it is no wonder it soon palls on us 
radio listeners when it is dinned 
into our ears morning, noon and 

Many of the jazz tunes are 
either stolen or borrowed from the 
classics, but I do not believe that 
even the classics themselves would 
stand the strain of such severe mal- 
treatment. I hope the day will 
come when the broadcasting of all 
songs will be regulated by either 
the composer or the publisher for 
his own good. Only then will we 
be able to listen to the radio with- 
out becoming thoroughly disgusted 
at having banal tunes figuratively 
thrust down our throats until we 
turn off the radio in disgust. 

The part that radio plays to- 
day in religious, educational and 
amusement fields is truly amazing. 

From a novelty of questionable value, it has come to be 
almost a household necessity. Nor have its possibilities 
been fully realized. It has been a great boon to shut-ins 
and a source of enjoyment to millions. 

So many of the present day programs attain a high de- 
gree of excellence that it is difficult to select the out- 
standing ones. However, I think that radio — if by no 
other way — justifies its existence alone by bringing to 
the masses the beautiful music of our major symphony 
orchestras. I believe the results of these concerts are being 
seen in a steady improvement in the musical taste of our 

Of the regular programs on the air, there are a few 
that, to me, are eminently superior. The Palmolive Hour, 
for one, has an array of talent that might well be termed 
"the aristocracy of the air." It manages to afford me 
great pleasure, even though its commercial credits detract 
immeasurably. Other favorite broadcasts of mine are 
Amos 'n' Andy, whose negro characterizations, I think, 
are remarkable; Main Street Sketches; the Nit Wit Hour, 

Ted Husing, who covers sporting events 
better than anyone on the air 

one of the most gorgeous bits of fooling on the air; the 
True Story Hour; Slumber Hour; Hank Simmons's Show- 
boat and the various programs of grand and light opera. 

When I want to hear good dance music, I listen to the 
Lucky Strike Orchestra, which includes in its ranks about 
all of the leading jazz virtuosi extant, Paul Whiteman's 
orchestra, Sam Lannin's Ipana Troubadors and the 
Clicquot Club Eskimos. All this furore about Rudy 
Vallee impresses me as "much ado about nothing." I like 
the way he puts over a song but, so far as I can see, 
that lets him out. However, more power to him in capi- 
talizing his talents before his popularity wanes. 

Milton Cross My Favorite 

Milton Cross still remains my 
favorite announcer, particularly for 
concert and operatic programs. He 
is dignified, scholarly and possesses 
a musical background that mani- 
fests itself advantageously in any 
program he announces. I heartily 
agreed from the first with the de- 
cision of the American Academy 
of Arts and Letters to award him 
the gold medal for having the best 
diction of any announcer on the 
air. Certainly no one was more de- 
serving of the honor. 

For sporting events I prefer Ted 
Husing, who, by the way, started 
at WJZ shortly after the quartet 
of announcers to which I referred 
earlier. He knows his subject and 
his rapid-fire observations enable 
one to follow the contest easily and 
accurately. He never becomes so 
emotional that his account of the 
contest becomes incoherent. 

While I have never been a de- 
votee of Graham McNamee, I ad- 
mire his enthusiasm. When it is 
kept within bounds it is quite in- 
fectious. I thought he did a singu- 
larly fine piece of work in connec- 
tion with the recent Light's Golden 
Jubilee broadcast. He seemed to appreciate that he was 
seeing history in the making and succeeded in painting the 
impressive picture very well for the listeners. 

I have always enjoyed Norman Brokenshire's work. I 
understand that he was one of the last to give in to the 
changing order for announcers, by which they turned from 
extemporaneous announcing to the reading of prepared 
continuities. As a result, his work has necessarily been 
robbed of much of its charming spontaneity and individ- 
uality, but he still is one of the outstanding personalities 
of the ether. Among the other announcers whose work 
I particularly enjoy are Alois Havrilla, Curt Peterson, 
Perry Charles and David Ross. 

Among my pet radio aversions I number Roxy, wise- 
cracking announcers, whispering baritones and all con- 
tralto crooners excepting Vaughn de Leath. 

I have often wondered what the future holds for radio 
broadcasting. It has always been my contention that the 
entire business operates on the wrong basis. The listeners 
(Continued on page 46) 

JANUARY, 19 3 


Radio Boasts Own Dramatic Star 

Rosaline Greene Was the First Actress to Confine Her Activities to Broadcasting 

TJfTHILE at college Miss Greene became leading lady of WGY 
' players, a pioneer group whose weekly radio plays 'were an 
outstanding attraction in the early days of broadcasting. For three 
years she appeared weekly in a full-length drama. This afforded 
her an opportunity to play every type of character. In 192 6 she 
was awarded the Radio World's Fair prize for having the most 

perfect radio voice. Miss Greene has devoted her efforts entirely 
to radio, except for a brief engagement on the stage in "The Pearl 
of Great Price." She is leading lady for the Eveready Hour, on 
which she has appeared as Joan of Arc, Evangeline and other famous 
characters. She has been heard on a number of other programs. 
She was born in Hempstead, L. I., on December 3, 1905. 



Browne and His Banjo 






H, SUSANNA, Now Don't You Cry for Me; 
I've Come From Alabama Wid My Banjo on My 

So sang a young soldier of the American forces in Cuba 
in '98. If the entertainer had been a bit more accurate 
he would have sung, "I've Come From Massachusetts Wid 
My Banjo on My Knee," for the Berkshire Hills were the 
home of Harry C. Browne and his stringed instrument, 
now popular with the radio audience through his frequent 
appearances in programs of the Columbia chain. "Hank 
Simmons's Showboat" is probably the most outstanding of 
these programs. 

This young man and his banjo were boon companions. 
In school Browne was a football player of renown, and in 
the earlier ' days of this sport's popularity it was no five 
o'clock tea. The scars of battle were numerous. 

Though quite adept at baseball, he did not play because 
he feared that he would injure his fingers. With disabled 
digits Harry realized that he would be unable to strum the 
accompaniment to his vocal efforts. The banjo evidently 
appreciated the sacrifice made for it and, in return, pro- 
vided the means of procuring spending money, namely by 
entertaining the townspeople. 

The Browne family was not at all enthusiastic about the 
son's strenuous activities as a minstrel. The father had 
attained only partial success with the burned cork and pic- 
tured his "pride and hope" as a prosperous member of the 


Bar. Without consideration for his decided protests they 
made plans for his education in law. For a few months he 
attempted to wade through Blackstone and the lesser lights. 
The call to arms in 1898 was pleasant music to his ears. 
He now had a most excellent excuse for dropping his law. 
Soon he and his banjo formed a very definite part of army 
life at the training camp. The Second Massachusetts Regi- 
ment was in Florida within three weeks' time. 

Great Success as Entertainer 

Harry's success as an entertainer was soon firmly estab- 
lished. In Cuba he was always in demand to play for the 
officers, and in this 
way he escaped 
many of the tasks 
that his less talent- 
ed companions per- 
formed as part of 
the daily routine of 
army life. Despite 
his relea s e from 
these duties, his 
part in warfare was 
an active one. He 
was there when his 
company led the 
way in capturing 
El Canal. In the 
rush to disembark 
at B a i quairi, he 
forgot even his 
precious banjo. 

Browne returned 
home so thin that, 
as he puts it, "I 
scarcely cast a 
(Turn to page 44) 

Mr. Browne, as Henry Clinton, 

Ballyhooing "Hank Simmons's 


J AN U ARY , 19 3 


Metropolitan Star Puts 

Stamp o 



RADIO broadcasting has been a little severe on opera 
stars. It has turned the fierce light of magnifica- 
tion on their vocal faults but, at the same time, it 
has emphasized, in a most favorable manner, the beauties 
of a good voice. Sound vocal production has always been 
enhanced by the radio. 

If an artist is able to "deliver the goods," without un- 
necessary display of bad taste or temperament, remember- 
ing that he or she has no stage spectacle, no friendly 
audience, no striking appearance nor claque of horny- 
handed galleryites to assist him, then the radio and its vast 
audience have been kind to that artist. But, stripped of 
all the trappings, of the sentiment, of the color, of the 
sight of a great orchestra competently directed, the artist 
singing over the radio faces a problem entirely different 
from operatic presentation. Here only vocal merit tells. 
Everything considered, radio treats the true operatic artist 

On the other hand, how does a great operatic star regard 
radios? A famous singer who, stripped of all operatic 
embellishments, remains a vivid personality — one who has 
reached the heights largely through the medium of a gor- 
geous voice and her own real charm — was approached on 
the question. 

Lucrezia Bori, who is perhaps the ideal prima donna 
and is certainly one of the most popular stars of all time, 
likes radio, both from the angle of a pioneer broadcaster 
and an enthusiastic listener. 

Received Many Letters 

"I like radio broadcasting enormously," she told me the 
other day. "I think it is the best reproducing medium 
we have. And I have received so many thousands of 
pleasing letters from great distances. Instead of the ap- 
plause that is generally, I am very happy to say, bestowed 


► ^\ E 

L_" *vfe (fl 

h '* 1 

TOfiM /■ ^H 

W^SijjSr 1 


1 if */ 


■r v 1 

Sr- ] 


Lucrezia Bori and Rowdy. 

upon me, I receive stacks of charming letters from, how 
do you say, "radio fans', and I am going to preserve them 
all and re-read them long after the echo of the opera 
house applause has died away. 

"It was a little difficult for me at first, because I missed 
seeing my audience. I like to note the expressions on the 
faces of my friends and to watch them, at the close of an 
act, as they turn to each other and say nice things when 
I have had a success. I like, too, to hear the rustle of the 

"According to my contract with the Metropolitan, 
I am allowed to sing only twice a year over the radio, 
with the Atwater Kent and the Victor companies, but 
I am very proud of my contract with the Metropolitan 
Opera Company and, after all, one cannot have every- 

"I will sing 'Louise' in January for the first time, and 
I am very excited, of course, over the prospect, as I like 
the work. 

"Do you know that Vincenzo Bori, my brother, attends 
all my opera performances, and he is at once my best 
friend and severest critic?' ' The singer here laughed a 
little at her lack of originality. 

Obliging and Agreeable 

For a person of her attainments Lucrezia Bori is very 
obliging and agreeable to interview. "Whether in her 
splendid apartment in a New York hotel or walking up 
Fifth Avenue, she is always very informal, and Rowdy, her 
very Irish terrier, joins with her in extending a welcome. 



Her salon contains paintings of herself by the world's 
most famous artists. When this fact was pointed out, 
Miss Bori laughed gaily; "You see, I like myself!" she said. 
The piano is decorated by large autographed photographs 
of their Majesties the King and Queen of Spain, each bear- 
ing an affectionate greeting. "Yes, they like me too!" 
she said with quiet simplicity. 

"Yes, I really enjoy radio broadcasting," she went on. 
"John McCormack and I were the first people of our rank 
to sing over the air. This was back in 1925. The re- 
sponse after that concert was quite overwhelming; I 
received more than 5 0,000 requests for autographs and 

"I have no favorite role, and 
I do not diet. I take proper 
exercise, of course. I have sung 
thirty-five different roles, and I 
like them all. Some of my 
friends like to see me in special 
roles, but I remain loyal to all 
my characters, and impartial. 
I am not in love with anyone; 
I'm in love with my work, you 
see. Whether I get married or 
not does not depend upon my 
own decision." (Another mys- 
terious little laugh.) 

Miss Bori is a slender lady, 
with dark, luminous eyes and a 
dazzling smile. Around her 
centers one of the most tragic 
stories of all opera — the loss of 
her magnificent voice. 

There is little theatricalism 
connected with Miss Bori. She 
has very expressive hands, and 
she calls them into play now . 
and then to emphasize a point. 

"My early training as a girl, walled around with all the 
traditions of old Castile, served me faithfully during my 
entire career," she continued. "I do not waste my energy 
in useless worry and in foolish posings. There were many 
dark months when I was not permitted to talk or to sing 
a single note, but I did not lose faith that some day my 
voice would be restored to me. I believe in God and, like 
most of my race, I have quite a little belief in luck. But 
it was my belief in a divine purpose that gave me the 
strength to carry on. 

"Early in my life I had to battle with my family for 
permission to become an opera singer. My father was my 
only ally, and I finally persuaded him to let me go to 
Rome to study. It was in Rome, after four months of 
study, tha,t I sang Micaela in Carmen, and the people liked 
me. Other works in the Italian repertoire followed and in 
April, following my debut at Rome, I sang at the San 
Carlo Opera House in Naples, which was my most im- 
portant engagement up to that time. 

"Ricordi, the Italian music publisher, heard me sing 
and sent a complimentary message back. It was he who 
arranged that Puccini should also hear me, and then 
Gatti-Casazza and Toscanini. They came all the way 
from Paris to Milan to hear me. Then I sang Puccini's 
Manon Lescaut opposite Caruso in Paris. I had good 
success and was acclaimed as a 'discovery of Puccini'. 

"I came to America first in 1912, and it was in 1915 

The Siveet-Voiced Tenor of the Air. 

that an operation on my vocal cords became necessary, 
and I found I could not sing." (A long silence followed). 
"It is terrible to be a singer and not be allowed to sing — 
not a single note. It is like being stricken suddenly with 
blindness when all the world is flooded with sunshine. The 
rebuilding of my voice was a slow and laborious process, 
but in 1918 and 1919 I was able to sing again in Monte 
Carlo. It was not until 1921 that I felt strong enough 
and sure enough of my voice to return to the Metropolitan, 
and my first role after my return was Mimi in La Bobeme". 
Miss Bori speaks Spanish, of course, and is equally 
voluble in Italian and French. She talks English rapidly 
but, when a word fails her, lapses into French. She ex- 
plains that she learned the Eng- 
lish language here in America. 

With a gracious word of 
thanks to the interviewer, she 
disappeared, smiling, into an 
inner room. 

Superb in Manon 

Of the many roles that Miss 
Bori is called upon to portray 
during the course of a season 
at the Metropolitan, it is my 
opinion that she excels as 
Manon in Massanet's opera of 
that name. Not only is she an 
excellent actress, but her voice 
is ideally suited to the beautiful 
music and her personal charm 
and pulchritude combine to 
create a sympathetic atmos- 
phere that is in keeping with the 
story. She may create many 
characters during her operatic 
career, but I do not ever expect 

to be thrilled as greatly as I was when I saw her in Manon. 

She was superb. 

Critical Note on "The Messiah" 

On the Sunday before Christmas the NBC made a con- 
tribution to the holiday season in the form of a perform- 
ance of Handel's famous oratorio, The Messiah. It was a 
most commendable production. The orchestra was under 
the direction of Graham Harris, who gave an exceptionally 
fine reading of the score. The work of the Sixteen 
Singers as the ensemble was excellent. Their diction was 
particularly good. 

The soloists call forth further superlatives. Lewis 
James, tenor, sang the aria "Every Valley Shall be Exalted" 
with magnificent style, phrasing and vocal finish. While 
he has done praiseworthy work in many varied forms, it is 
to be doubted if he ever shone to such great advantage as 
on this occasion. The other soloists were equally capable. 
Elizabeth Lennox, contralto, sang with her usual richness 
and finesse. Theodore Webb, baritone, sang beautifully 
and authoritatively, and Genia Zielinska, soprano, con- 
tributed a musicianly interpretation. In all, it was a 
performance that left little to be desired. — W. H. P. 

JANUARY, 19 3 


Merle Johnston Succeeds 

by Virtue Oj 

His "Sax 


MERLE JOHNSTON and the saxophone have be- 
come almost synonymous along broadcasters' row. 
While Merle thinks the saxophone made him, some 
critics claim that he made the instrument. At any rate, 
their arrival in public favor was almost simultaneous. 

It was in 1922 that Johnston spent long, weary weeks 
tramping Broadway and searching vainly for a friendly 
face. Finally he joined a jazz band as saxophonist and 
toured the country. He returned to New York and subse- 
quently was engaged to play in a night club. 

The great possibil- 
ities of the saxo- 
phone were first 
brought to his atten- 
tion by the trap 
drummer in this 
night club. Merle 
had never before 
associated the saxo- 
phone with anything 
but jazz. However, 
from that moment 
he became a man 
possessed of a single 
idea, namely, to lift 
the saxophone to the 
level of other solo 

"I had to go about 
my task alone," he 
says. "The instru- 
ment was so heartily 
despised that in the 
entire world there 


Merle Johnston's Saxophone Quartet. Left to 
Michael Ships, Merle Johnston, director and founder, 
Herman Yorks and Larry Abbott. 

was no master to whom I could apply for instruction. The 
saxophone then was a favorite of only the jazz-hungry 
element, and nobody ever dreamed 
that it could be converted into an in- 
strument for playing the classics." 

In order to accomplish his task, 
Merle studied and dissected music in 
much the same way that a great sur- 
geon studies the most difficult case. 
He bought phonograph records made 
by the world's finest musicians, and 
listened to them by the hour, care- 
fully noting how each tone and 
nuance was produced. 

Found Saxophone Flexible 

Then followed a long period of 
diligent practicing, during which he 
attempted to put into his saxophone 
playing the same expression, warmth 
and beauty of tone that these musi- 
cally great did on their solo instru- 
ments. He found the saxophone to be 
as flexible as the human voice and, 
{Continued on page 43 ) 



Will Radio Wonders 
Never Cease? 


Invention of Left-handed Microphone 
Likely to Revolutionize Broadcasting 



Manager of Plants, Orchestrations and Racketeering 
Natural Broadcasting System 





We could not go to press 
without having a technical 
article for those of our read- 
ers -who are so inclined, so 
■we called upon I. B. Hansom 
to write about radio's latest 
development. He has done 
so in a manner that leaves no 
doubt as to his fitness for the 
position he holds. 


RADIO engineers, ever alert to in- 
vent or develop new devices for the 
convenience of announcers, artists 
and others who present the broadcast 
offerings to the public, have made an- 
other great discovery. It is the left- 
handed microphone and it may safely be 
referred to as the most radical develop- 
ment in microcraftsmanship in the past 
three years. 

In order to take this great step for- 
ward, it was necessary to take a step 
backward. Years of research have proved 
that it is impossible to develop a left- 


Mr. Hansom in a charac- 
teristic pose 

c o n d en- 
ser micro- 
phone and 
that only 
the carbon 
type of 

"mike" could be used. Yet, 
so great is the superiority 
of the left-handed mike 
over the type generally in 
use that it has been con- 
sidered practicable to junk 

Here is Mr. Hansom examin- 
ing the two latest types of 

microphones, which will doubt- 
less be thrust into oblivion by 
his latest invention 

the expensive condenser types. It has 
always been the policy of the Natural 
Broadcasting System to discard without 
hesitation hundreds of thousands of dol- 
lars' worth of equipment if the public 
is to be benefitted in any way. 

The secret of the left-handed micro- 
phone may be found in the shape of the 
tiny grains of carbon that give the car- 
bon mike its name. In the old type 
microphone the bits of carbon were 
slightly longer than they were wide, the 
third dimension being indifferent. This 
caused the minute particles of carbon to 
revolve slowly to the right when agitated 
by a High C note or the mocking wails 
of a double bass. 

Third Dimension Indifferent 

In the new type the carbon particles 
are slightly wider than they are long, 
the third dimension remaining indifferent. 
This causes the particles to move in a 
left-handed direction. Another impor- 
tant phase of the new development is 
that the sex of the artist before the 
microphone has no effect whatsoever on 
the carbon contents. 

While the average layman may won- 
der what difference this minor change in 
directional activity can make, to the en- 
gineer it is obvious. The tempo of the 
frequencies, which heretofore has been 
casual, is changed and the pitch co-effi- 
cient is greatly improved. 

Another interesting angle is that each bit of carbon — 
(Continued on page 45) 

N. B. — We have discovered quite inadvertently that the young lady standing 
before rhe jmall mike is Olga Serlis, pianistc and director of the Parnassus 
Trio. What she can be doing there is beyond us, as we do not believe she sings, 
but there is absolutely nothing we can do about it. 

JANUARY, 19 3 

MAID ft, 


or any 


Mildred Bailey 

(above) WABC's 

fine contralto, sings 
on the Paul White- 
man Hour. Paul 
likes her immense- 
ly, and you will, 

The bright-eyed 
lady at the right is 
Stephanie Diamond, 
whose thrilling 
work in dramatic 
roles over the CBS 
will delight you. 
A dynamic maid, 
if ever there 

A cute little 
blonde ts Mary Mc- 
Coy (above) so- 
prano on the Chase 
& Sanborn Hour 
and other NBC 
programs. Maybe 
you've seen her on 
Broadway in "A 
Wonderful Night". 

And this lovely 
lady is Astr id 
Fjelde, statuesque 
Nordic blonde, who 
sings those beauti- 
ful but difficult 
arias over the 
NBC chain. A bril- 
liant soprano, 
you'll declare. 



A VALLEEdictory 

G. Maillard-Kesslere. 

Here is the Bard of Broadway, surrounded by a 

flock of the songs for which he has been 


Wj Wimbrow showed us the lines 
he had written about Rudy 
Vallee, we were ready to award him 
RADIO REVUE'S prize for the best 
contribution outlining a reader's 
opinion of the reasons underlying 
Rudy's success. 

But, with becoming modesty, Dale 
declined to have his composition en- 
tered in the contest, saying he did not 
think, it was quite fair that he, a pro- 
fessional song -writer, should compete 
-with our other readers. However, he 
said we could use his effusion in what- 
ever -way -we -wished, so here it is. 


TpVERY Mary, fane and Sally 
I J Raves about this Rudy Vallee; 

All the magazines an' "tabs" are fidl of junk 

'Bout the name that he's been gainin', 

But, fer all o' the explainin', 

'Tivixt the two of us — the most of it is bunk. 

Ym a friend o' his, I'm hopin' , 

An', ivhile others have been gropin' 

Fer the reason, I have known it all along; 

'Tain't his looks, er sex-appealin', 

Er the style the rest are stealin'; 

It's the plain an' simple way he sings a song. 

While the rest of us were bio win', 

This here Vallee guy teas showin' 

What it means to sing a song 'as she is tvrit'; 

Fer, with all this "boop-a-doopy" 

Folks got tired o' viakin' ivhoopee 

An' them soot bin' songs jest had to be a hit. 

Don't fcrgit this, ivhile you're readin', 

That a thing this world is needin' 

Is a little more politeness, man to man; 

Vallee's style, while self-effacious, 

Came just like a cool oasis 

In a greedy, money-grubbin' desert land. 

We don't like him, men are boastin' , 

But the cause of all the roastin' 

Ain't his manner, er his method, er his curls; 

'Taint his songs — though they are cleaner — 

Er his voice, er his demeanor; 

It's the flutter he has caused among the girls. 

While we men take up the hammer 

An' protest, an' "yip" an' "yammer," 

Our best girl friend tacks his photo on the wall; 

First we're cussin', then we're moonin', 

He jest goes on softly croonin' — 

Maybe Vallee is the wise guy after all. 

JAN U ARY , 19 3 


MERE Man Wins First Prize 
in RUDY VALLEE Contest 


Flood of Letters from All Sections 
Testifies to Young Man's Popularity 


LITTLE did the editors of Radio Revue realize, 
when they planned this contest for letters on the 
reasons underlying Rudy Vallee's success, how uni- 
versally popular is this young man. Letters poured in 
from all sides and from many sections. There were so 
many excellent ones that it was an extremely difficult task 
to select the best. 

Ironically enough, the choice for the first prize letter 
finally centered on a mere man, Martin Hansen, of 
Decatur, 111. His letter was selected chiefly because it dis- 
played a keen insight into the 
enigma that Rudy Vallee pre- ^ — 
sents. It was writen in a de- 
lightfully informal style. 

The second prize was 
awarded to Miss Catherine 
Oest, of Yonkers, N. Y. She, 
too, presented a capable an- 
alysis of the problem, one that 
differed somewhat from Mr. 
Hansen's theory, but was 
nevertheless logical and inter- 

It is only proper that some 
of the other outstanding let- 
ters should receive honorable 


Announcement of a new -*&> 

contest will be found on an- 
other page. We invite all of our readers to participate. 
Letters should reach the Radio Revue not later than 
January 20, 1930. Winners will be announced in the 
February issue. 


First Prize Letter 

When a hardboiled ex-marine like myself sits down to write his 
explanation of Rudy Vallee's success, don't think for a minute that 
its because I'm trying to kid you out of ten bucks in prize money. 
And when I start quoting scripture to prove my point, don't faint and 
say: "Here's a religious nut from the Bible belt." And when I men- 
tion the word "love" in capital letters, keep in mind that its 20 years 
since I read Elsie Dinsmore. 

Rudy Vallee is reaping the harvest of a seed that is seldom sown 
this day and age: LOVE. The good-looking little son-of-a-gun really 
and honestly LOVES his audience and his art. He LOVES to please 
listeners — LOVES it more than he does his name in the big lights, his 
mug in the papers. He loved all those unseen women as passionately 
as a voice can love, long before they began to purr and to caress him 
with two-cent stamps. 

Here is that threatened quotation from Scripture: (I think its 
found in the 13 th chapter of Second Corinthians. 1 

"Though I speak with the tongues of men and of angels, and have 

Awards in Rudy Vallee Contest 

FIRST PRIZE— (Ten Dollars) — Martin 
Hansen, Decatur, 111. 

SECOND PRIZE— (Five Dollars)— Miss 
Catherine Oest, Yonkers, N. Y. 


Hancock, New York, N. Y.; Alberta 
M. Miller, Philadelphia; Lola F. Asbury, 
Jersey City, N. J.; Viola Yousoff, New 
York; Helen L. Anderson, Cambridge, 
Mass.; Rita Driscoll, Brooklyn, N. Y.; 
Marie Wardell, Brooklyn, N. Y.; Miss 
C. Wegge, Long Island City, N. Y.; 
Ronnie Higgins, Jersey City, N. J.; 
Wanona R. Glenn, Hopewell, Va. 

not LOVE, I am become as sounding brass or tinkling cymbal . . . 
"LOVE vaunteth not itself, is not puffed up; doth not behave it- 
self unseemly." 

Modest and Unobtrusive 

That's all I remember of the chapter, and I don't have a Bible handy 
to check up on it. But doesn't the second sentence of that quotation 
fit the l'il heartbreaker? Isn't he becomingly modest and unobtrusive? 
At least, so the reams and reams of press notices have said. 

And as to the first part of the quotation: I break down here and 
confess that I am not only a hard-boiled ex-marine, but I am a veteran 
newspaper reporter and more recently a radio announcer. 

A blind guitar player, who became a radio entertainer quite inad- 
vertently, started me thinking about this LOVE business as it concerns 

microphone personalities. Johnny 

Jjgl Grassman is his name. To hear 

Johnny in the studio, you'd wonder 
how he ever got past the audition in 
the first place. Hear him on the air, 
and you don't think of whether he 
can sing with the guitar or not. He 
just gets you. Johnny LOVES to 
sing for people if he thinks they en- 
joy it. His sightless face lights up 
like a burning oil well when you hand 
him a bouquet of mail that has drift- 
ed in like a Dakota blizzard. And its 
not pride in his work, but LOVE for 
the other fellow. And Johnny started 
loving people, over the microphone 
he couldn't see, before he got his first 

Microphone Most Delicate 

The microphone picks up some- 
thing you can't hear, but you can 
feel. I think there must be a sort 
of telepathic carrier wave goes along 
— ^ with the radio wave, that tells folks 
that you are thinking of them while 
before the mike. If I'm tired or have just had a run-in with the boss, 
or I'm worried about the payments due on that automobile, and don't 
shake it before I face the old mike, I don't get the responses to my 
programs that I get when I'm feelin' fit and just wanting to put the 
old program over for the folks. 

You can get by without this thing called LOVE, and make a hit 
on the stage. I've seen it done. But if you get by its because you can 
screw your face into a synthetic smile and your eyes into a bogus 
twinkle. But you can't fool the mike. You can't fake the fringes 
of warmth of voice that say: "Folks I LOVE to do this for you, and 
I'm doing it, not because I'm afraid of going to the poorhouse if I 
don't get over." 

Rudy Has Much Technical Skill 

I'll leave it to Rudy Vallee himself to tell you whether this letter hits 
or misses . . . as to the LOVE part. Of course, we must consider 
that Rudy does have a lot of technical skill to hook up with it. But 
the reason Rudy is so dog-gone modest about it all is that he knows 
he isn't as hot as some of our orchestras. And if he ever loses his 
head and starts LOVING himself instead of his audience, he'll very- 
soon put a banana peel under his patent-leathered heel and go down 
lower than Joe and his bass horn in "Piccolo Pete." Tell him I said 
so. Tell him I'm not crazy about his music, but I'm for him because 
he's sincere. — Martin Hansen, Decatur, 111. 

{Continued on page 47) 



Static prom the Xtldicx 

Dr. Robert A. Goetzl, the Viennese 
conductor who directed a performance 
of Johann Strauss's "Die Fledermaus" 
given by the National Light Opera 
Company over an NBC chain last year, 
was engaged by the Messrs. Shubert to 
direct the forty-piece symphonic or- 
chestra, which is playing for their re- 
vival of this Strauss operetta. It is 
called "A Wonderful Night" in this re- 

Dr. Goetzl has directed this operetta 
on numerous occasions in Europe. He 
acted in that capacity during the entire 
centennial celebration in honor of the 
composer, given in Vienna in 1925. In 
1923 Dr. Goetzl was decorated by 
Queen Wilhelmina of Holland, after she 
had witnessed a performance of "Die 
Fledermaus" in Amsterdam, which he 

Kitty O'Neill, NBC mezzo- 
soprano, 'who is heard every 
morning with the After Break- 
fast Trio and also -with the 
Philco Hour and the National 
Light Opera, tells this one on 
herself. When she was play- 
ing in "Rosalie," the Ziegfeld 
production of last season, the 
famous Florenz took one look 
at Kitty's slim figure and re- 
marked "My, what a lovely 
voice you must have." 

WNYC recently presented an unique 
artist, Mme. Caterina Marco, who at 
77 years of age sings with a voice that 
is remarkably preserved. Mme. Marco 
is a contemporary of Adeline Patti and 
sang Micaela to Mme. Patti's Carmen 
at the old Academy of Music. The New 
York critics were amazed at the still 
brilliant quality of Mme. Marco's voice 
at a recent recital she gave in New 

Georgie Price, popular Broadway 
comedian who returned to New York 
recently to appear on the Brownbilt 
Footlites on Station WABC, told how 
he was held up lately in Chicago. As 
he was leaving the Palace Theatre by the 

stage door, he was accosted by a man, 
who told him to "hand over all valu- 
ables before I shoot." Unable to call 
for assistance, Georgie was forced to 
hand over everything. A hard-earned 
pay check and railroad tickets home 
were among the valuables. Georgie was 
compelled to postpone his departure for 
New York until the next day. 

Listeners who remember Lewis 
Reid's "Gamboleers" of last year 
are getting another sample of the 
writing ability of WOR's chief an- 
nouncer in a series of programs he 
is producing at the Bamberger sta- 
tion. They are heard weekly on 
Friday nights at 9:00 o'clock and 
are called "Tuneful Tales." All 
the programs are humorous in na- 
ture and employ about five people 
in the cast. An orchestra supplies 
the background of music. 

Willie Perceval-Monger, the hysterical 
musical historian of the NBC, has never 
been able to boast of an excess of mental 
stability. His partner at a recent dance 
at the Plaza was a young Czecho-Slova- 
kian girl, well known in New York's 
musical circles. After gazing at this 
moon-eyed gazelle throughout a long 
dinner, Willie, accompanied by Marcha, 
arrived at the top of the grand stair- 
case all dressed up for the ball. Willie 
spoke to the check room girl as follows: 

"Pardon me, I wish to Czecho-Slova- 
kia hat and coat!" 

Josef Pasternack, the well known 
conductor, is the proud possessor of a 
gold tipped baton, presented to him re- 
cently by J. Walter Thompson &• Com- 
pany, as a token of appreciation for his 
work in conducting the "Around the 
World with Libby." The baton is of a 
fine grade ebony, decorated with deli- 
cately chased gold, and bears a suitable 
inscription. Mr. Pasternack has been 
regular conductor on this series since its 
inception, June 6, 1929. 

In a recent broadcast written es- 
pecially for a birthday luncheon to 

George F. McClelland, the popular 
vice-president of the NBC, "Jolly 
Bill" Steinke had the pleasure of 
seeing and hearing himself bur- 
lesqued by Ray Knight in "Jolly 
Bull and Little Pain." "Jolly Bill" 
joined in the laugh on himself. 

Arthur O. Bryan, the WOR an- 
nouncer, was ordered out of the Court 
of Oyor and Terminer in Newark re- 
cently, when he said he had scruples 
against convicting a man when capital 
punishment would be the penalty. 

Bryan was called as a talesman in the 
trial of three men who were under a 
murder indictment. Among the ques- 
tions put to him by the prosecution 

"Are you opposed to capital punish- 

Bryan replied that he was. 

"Get out of here. Get out of this 
court room. Get out of this building," 
Judge Dallas Flannagan shouted. Bry- 
an left. 

- WHO 

There is a dark-eyed and 
quite beautiful young lady in- 
strumentalist in one of the 
broadcasting studies, who 
when she gets tired, becomes 
excited and stutters. This is 
a recent conversation: 

"Do you know a book called: 
"All cuck-cuck-cuckoo-Quiet 
on the Wee-wee-wee-wee- 
Western Front?" The other 
person said he did. 

"And surely you have read: 
''Poo- poo-poo-pa-doop- 
poo-Oh, pardon me,-poo-poo-I 
mean "Possession." The other 
person had. 

Flora Collins, mezzo-soprano well 
known to radio audiences, was chosen 
to sing the solo parts of Andre Caplet's 
"Le Miroir de Jesus." This work was 
done by the Adesdi Choir, under the 
direction of Margaret Dessoff, at Town 
Hall, on December 22. Miss Collins 
made her radio debut a few months ago 
(Continued on page 32) 

JANUARY, 19 3 


RADIO Gave Gypsy Violinist 
Chance to Become FAMOUS 


Harry Horlick Fled from Russia I 
and Found Refuge in United States j 


ROMANCE and adventure have played a big part in 
the life of Harry Horlick, who is known to the 
radio audience principally as the conductor of the 
A. & P. Gypsies, one of the oldest and finest salon orches- 
tras on the air. His rise has been comparatively rapid in 
recent years, but, before he came to this country, he suf- 
fered great hardships. 

Harry lived in Russia during the turbulent times that 
witnessed the rise of Bolshevism. He was a native of the 
Black Sea district. His 
one pleasure in life 
was to play his violin, 
which many times he 
did in the face of 
much opposition. He 
was compelled to join 
the Bolshevik army 
and he served in it for 
a while. However, he 
seized the first oppor- 
tunity to escape. That 
was in 1921. He 
made his way, with 
great difficulty, to 

All Harry had was 
his violin. He had 
no friends and no 
money. He remained 
in Constantinople for 
about eight months, 
earning enough with 
his violin to pay his 
passage to the United States. He landed in New York 
with four or five of his countrymen. For a while he was 
in difficult straits, but he finally was engaged to play with 
the City Symphony, a new orchestra that was giving a 
number of concerts in and around New York. 

Some time later Harry was employed, along with some 
of his compatriots, to play in a Russian club called 
Petrouschka. It was this engagement that indirectly 
brought him into radio. Someone who was interested in 

The A. & P. Gypsies as They First Went on the Air 

radio heard Harry and his Russians play their native music, 
as only they can play it, and brought them to the atten- 
tion of the director of Station WEAF, which then was 
owned by the American Telephone & Telegraph Company. 

Wanted Distinctive Feature 

Just about that time the Great Atlantic & Pacific Tea 
Company was considering radio broadcasting as a new 

means of advertising 
its nationwide chain 
of stores and was 
looking for a feature 
that would be entirely 
distinctive. The 
WEAF authorities 
s u g gested Horlick's 
orchestra, which was 
summoned to play an 
audition. Needless to 
say, Harry did not 
know much about this 
new medium of musi- 
cal expression but, af- 
ter all, he felt, it 
might mean an en- 
gagement and a larger 

The audition was 
all that it had been 
expected to be. Harry 
and his musicians 
played the wild gypsy 
melodies and the Russian and Hungarian folk tunes with 
fiery abandon, mingled with a pathetic and wistful quality 
that sprang from their longing for their native home. 
Their performance was so distinctly different from any- 
thing that had been heard in musical circles up to that 
time that they were immediately engaged to broadcast. 

The A. & P. Gypsies, as they were christened, first ap- 
peared on the air in the Spring of 1924. Their programs 
were made up entirely of these Russian and Hungarian 



The Gypsies as They Nou> Appear, One of Radio's Finest Salon Orchestras 

melodies. Because of their freshness and peculiarly ap- 
pealing quality, these songs immediately caught the pub- 
lic fancy. Many of these songs had never before been 
heard in this country. Harry had played them in Russia 
and had taught them to his men. Many of them later 
were written down and arranged. These have since be- 
come widely popular all over the country. They owe 
their introduction here to Harry Horlick. 

Personnel is Increased 

During the first year the Gypsies' most popular selec- 
tions were "Black Eyes" and "Shadows of the Past." In 
1925, "Dubinushka" was the favorite; in 1926, "Black 
Eyes," and in 1927 "The Old Forgotten Hungarian Song 
and Dance." Gradually the original five-man string en- 
semble began to grow. The repertoire was expanded, and 
so various other instruments were needed. More strings 
were added, then a woodwind or two, a flute, and a drum- 
mer who could play castanets and lend additional color 
to some of the compositions rendered. 

By this time, the Gypsies had become definitely estab- 
lished as an outstanding radio feature. Satisfied that Harry 
Horlick and his musicians could play the typical Russian 
music better than any of their contemporaries, the radio 
audience gradually began requesting music that required 
a larger orchestra. So a brass section was added to the 
Gypsies and they made their debut as a small orchestra. 

Their repertoire was greatly increased, enabling them 
to give a widely varied program. Although they still re- 
tained the characteristics of the original string ensemble, 
they were now able to play the more popular types of 
music and the more ambitious compositions. And still the 
listeners were not satisfied. They began asking for music 
that was in the province of a symphony orchestra. They 
wanted not only popular dance and novelty numbers but 
the great masterpieces as well. 

So again the personnel of the Gypsies was increased. The 
orchestra grew in size until today it is a great symphonic 
body of twenty-six pieces, equipped to play anything in 
the realm of music. In recruiting his musicians, Harry 

Horlick has adhered to the same exacting standard that 
distinguished his ensemble in the early days. He points 
with pride to the high artistic status of his men — mu- 
sicians who play regularly with the major symphony or- 

Something of Gypsy About Him 

Harry is an interesting study. There seems still to be 
something of the gypsy about him. One moment he is 
alive and vibrant, breathing fiery brilliance into the inter- 
pretation of an Hungarian czardas, and the next instant 
he is painting a sombre and melancholy picture of old Rus- 
sia through the medium of a folk song. 

First, last and always he is a musician and a true artist. 
Little else matters in his life outside of his music. Since 
his orchestra has grown to such large proportions he no 
longer plays the violin regularly, inasmuch as directing 
demands his undivided attention. However, many times 
he cannot resist the temptation to seize the nearest violin 
and join his boys, as in the old days, while they play the 
now famous "Two Guitars," which has been the signature 
of the Gypsies' hour for years. 

Harry is a graceful figure as he wields his baton. Of 
medium height and well proportioned, he seems quite 
young to be directing such a large orchestra. Although 
he often laughs and jokes with ljis men he asserts his au- 
thority, when the occasion demands, in a quiet but force- 
ful way that leaves no doubt in the musician's mind as 
to who is in charge. He seems to live only for today and 
apparently has no fear of the future. It took care of him 
during all his trials and tribulations in Russia, so it is not 
likely to play him false now. All in all, he is one of the 
most interesting figures in radio circles. 

Announcing a New Department 

Beginning with the February issue, Radio Revue will 
inaugurate a column, entitled "The Oracle," in which it 
will answer any questions its readers may care to ask in 
connection with radio broadcasting and those on the air. 

JANUARY, 19 3 


Turned to Singing After Accident 

Frank Munn (Paul Oliver) Tenor, was Injured While Working as a JS/lechanic 

Y¥7 HEN the United States entered the World War, Frank Munn 
*" was assigned to duty in a shipyard as an expert mechanic. 
His beautiful, untrained voice was first heard at the shipyard 
patriotic exercises. One day on the job he met with a serious acci- 
dent. His hand was so badly injured that he was compelled to 
forego mechanical work. While he was in the hospital, he was 

visited by Dudley Buck, noted voice teacher. Mr. Buck offered 
to train him for the concert stage. Frank accepted. After sev- 
eral years he was given a chance to make phonograph records, and 
was eminently successful. His next step was into radio broad- 
casting, and he is now exclusive tenor soloist on the Palmolive 
Hour, NBC. Frank is modest and unassuming, despite his success. 



JTATIC from the XtUDIC/ 

(Continued from page 28) 
over Station WABC. She was immedi- 
ately engaged for solo appearances on 
Grand Opera, Cathedral and Voice of 
Columbia radio hours. 

It is too bad that announcers are not 
able to carry microphones around with 
them all the time. When an aeroplane 
fell on a roof near Central Park in 
New York City several weeks ago, 
Graham McNamee happened to be 
nearby and rushed to the scene of the 
excitement. A policeman, recognizing 
him, said: "Say, Mac, all we need is a 
mike and we could broadcast this to the 
whole world." 

Frank Moulan, the noted comedian, 
recently received a fan letter from a 
girl in Pennsylvania, commenting on 
his work in the National Light Opera, 
NBC. She said she enjoyed his songs 
very much but asked him would he 
please sing something in his "natural 
voice." Frank is still wondering how 
to take the girl's request. 

Bill Munday, the "Georgia 
Drawl," -whose voice de- 
scribed football games through 
the N. B. C. System this past 
season, has never heard a foot- 
ball game broadcast. The rea- 
son is that Bill has always been 
at a game every week-end dur- 
ing football season for the past 
four years. 

No matter how important the broad- 
cast, the doors to the NBC studios from 
which it goes on the air can never be 
locked. This is not a superstition but a 
fire regulation. In order to keep "crash- 
ers" out of the studios — and radio has 
its crashers — every door is guarded. 
Signs also advise passers-by that the 
studio is "on the air" and not open to 

■■■<■ * * 

Vic Irwin, who, with his orchestra, 
opened the Mayfair Roof recently, has 
returned to "radiocasting" via "WOR. 

Mr. Irwin, who has been playing in 
practically every state in the Union, 
last entertained in New York at the 
Hotel Manger Grill. He left the hotel 
to become master of ceremonies at the 
Roxy Theatre. After conducting the 
110-piece orchestra at the Roxy, he 
took charge of a Publix theatre unit, 
with which he toured to the Pacific 

Not often does Milton Cross lose his 
dignified manner over the air, but one 
Sunday night recently, while an- 
nouncing the Armchair Hour, he went 
completely to pieces. It all started when 
he began to tell the personnel of the 
Armchair Ouartet. He announced his 

own name and, instead of saying "first 
tenor," inadvertently said "first tennis." 
Whereupon there was much merriment 
among the other boys in the studio. 

"First tennis," repeated Marley Sher- 
ris, the bass of the quartet, "and then 
golf," and thereupon ducked behind a 
drapery to stifle a guffaw. 

' Milton struggled bravely to regain 
his composure but to no avail. He got 
by "Maurice Tyler, second tenor," but, 
when he reached "Walter Preston," he 
had to throw the switch and go off the 
air until he could stop laughing. He 
made a final desperaate attempt and 
then gave up announcing the names. 

His listeners apparently enjoyed the 
incident more than Milton did, judging 
from the many letters he has received 
commenting on it. 

In response to innumerable in- 
quiries, the editor wishes to state 
most emphatically that Helen 
Janke, contralto, is not one of the 
Connecticut Yankees, of Vallee 

Emil Cote, bass, who had been with 
the NBC for several years, recently sev- 
ered his connection with that company 
in order to sing over Station WABC of 
the Columbia chain with a quartet 
called the Alumni Boys, which he or- 
ganized some months ago. This quartet 

sings on the Bremer-Tully Time, Gold 
Seal Moments, Kolster Hour, Forty 
Fathom Trawlers and the Voice of Co- 
lumbia Programs. 

George Dilworth, NBC conductor, 
will sail on January 4 for a two weeks' 
cruise to Havana. His trip will be in 
the nature of a much-needed vacation. 
He has received a number of "orders" 
from his friends, to be filled down 
there, but fears that he may be com- 
pelled to dispose of the prescriptions 
before he returns. 

Bert Reed, the well known 
arranger for Remick's, was lis- 
tening to the radio the other 
night while he was dining. He 
heard a rather small voice 
coming over the air that he 
seemed to recognize. How- 
ever, he could not recall the 
singer's name. 

"Why, you know," said 
Mrs. Reed, "that's that Irish 

"Irish tenor?" spoke up 
Bert's son, "-why, he sounds 
to me more like a Scotch 
tenor — the way he saves his 

The first radio Santa Claus 'way back 
in 1922 was "Jolly Bill" Steinke, of 
"Jolly Bill and Jane", when he made his 
spectacular descent down the radio 
chimney of WOR. In case there are any 
any other claimants, Bill weighs 230 
pounds and has a mean temper. 

Inside information reveals the fact 
that the NBC has a real Chess Club. 
Promptly at six o'clock, on Mondays 
and Fridays, the chess hounds scurry 
off to a little corner-place near Madi- 
son Avenue, and fight bitter battles 
with the pieces. The members are 
George MacGovern, chairman; Julian 
Street, Jr., and Stuart Ayers, all of NBC 
continuity room, also Norman Sweet- 
ser, of the same company's production 
room. It is regrettable to have to add 
(Continued on page 36) 

JANUARY, 19 3 


America's Radio Programs 






EDITOR'S NOTE — Having seen the 
"back-stage" operations of the two 
large broadcasting systems, Julius Mattfeld 
is -well qualified to discuss his subject. He 
gave up his executive position with the 
NBC's music and book library to take charge 
of the CBS departments in the same field. 
His opinion is expressed here with his charac- 
teristic frankness. 

RADIO broadcasting, as we enjoy it today, is the re- 
sult of about ten years of development and growth. 
In this comparatively short time, it has offered en- 
tertainment as well as education and edification along every 
conceivable line of human endeavor. It has given us 
operas, light and grand; concerts, both symphonic and 
popular; dramas and melodramas; oratorios and cantatas; 
dramatizations of novels, magazine stories and serials; ac- 
counts of baseball, football, prize-fighting, horse-racing and 
yachting events; it has revived interest in the old Negro 
minstrel shows; it has brought before the microphone 
speakers and orators of national and international eminence; 
it has helped to spread ideas of personal hygiene and bet- 
ter living conditions; it has transferred religious instruc- 
tion from the church to the home — in short, it has been 
the world's greatest medium of direct intercourse among 
people since the invention of the printing press. 

It stands today before the world like the figure of the 
god Janus — one face turned toward the past, the other 
looking hopefully into the future. 

What will be its future? we may now ask. 

One cannot answer this question except by asking: 
has it accomplished all that it could have done in the ten 
years of its existence? 

The answer to this query is a categorical NO! 

The radio public today is complaining of the character 
of the programs "put on the air". Tune into whatsoever 
station it may, it finds a similarity of programs and a dupli- 
cation of material offered all along the dial. 







t ?, > 'Li I ' ' ^—jg==fe S 

fcci e 


The Herr Doktor Julius Mattfeld, hemmed in 
by Wagner, Strauss, music paper and musico-lit- 
erary queries, every one of which he can answer 
without even looking at the book. 

America Lags in Programs 

Although America is far ahead of Europe in its radio 
developments, it is behind the older continent in program- 
building imagination. There is still a vast amount of 
literature and music which has not been even superficially 
touched by our American program builders. Too much 
stress is laid by them upon what they think the public 
wants; in their haste they forget — or, rather, overlook — 
the fact that the potential American radio public is infinite- 
ly smaller, despite the calculations of radio statisticians, 
than the population of the country; that many a radio is 
silent because the musical and artistic desires of its owner 
are unsatisfied. 

The libraries of the world are rich in materials which 
could be adapted to radio presentation. Several of the 
larger American radio organizations in the East, following 
the example of the British Broadcasting Company, are wise- 
ly developing libraries of their own. These, it is no breach 
of business ethics to say, already contain many things which 
have never come to the attention of the station's program 
builders — in fact, they contain many an item which would 
help to diversify the present programs. 

Some day, unless official politics conspire to prevent it, 
the library, instead of functioning, as it now does, merely 
as a supply agency for programs, will be the real, originating 
source of programs, and will include as its adjuncts both 
the program and the continuity departments, as well as the 
publicity department — all then, under the supervision of 
one master mind; a twentieth century librarian! 



RADIO REVUE Thanks You! 

A NY doubts or misgivings we may have had as to the 
-^*- manner in which our first issue of Radio Revue 
would be received were soon swept aside when this newly- 
born infant. was presented for public inspection. We thank 
you all. The reaction was most pleasingly favorable. It 
warmed the cockles of our editorial hearts and caused our 
editorial pulse to beat at an hitherto unknown speed. 

While this reception was most gratifying — and we do 
not question its sincerity — we hasten to point out that we, 
more than anyone else, most fully realize the shortcomings 
of that initial issue. We have remedied some of these in 
this issue and shall continue our efforts to make this maga- 
zine the most entertaining and informative one of its kind. 

You listeners can help us in this respect. We invite you 
to write us as freely as you wish for information concern- 
ing radio programs, entertainers or those "behind the 
scenes." Let's make Radio Revue the listener's forum. 
If you have a grievance to air, let us help you give it wide 
circulation. Write us what you like or 
dislike in the way of programs — and why. 
Tell us frankly who your favorite broad- 
casting artists are, what announcers you 
prefer or cannot stand, and also which sta- 
tions you think put on the best programs. 

What artist's picture would you like to 
see on the cover? What program would you 
like to read a feature story about? What 
does radio mean to you and your family? 
Which of the radio stars or programs of the 
early days do you best recall? If you will 
but take the time, you can help us to make 
this a magazine of the listener, by the lis- 
tener and for the listener. Remember, this 
magazine is edited exclusively for you, the 
listener. Why not lend it the advantage 
of your support and encouragement? Again, 
we thank you! 

The Theatre of Illusion 

iYTTTH tne decay of the charming theatre of fanciful 
** illusion and the substitution of plays dealings with 
trench life, speakeasies and questionable hotels, for the 
imaginative comedies of a gentler age, the broadcasting 
business may find and take advantage of a rare opportunity. 

Only a few months ago Andre Wormser's delightful 
mimo-drama "Pierrot, the Prodigal" found its way across 
the ether, with proper incidental music and the pantomimic 
action recited by a reader. Many complimentary remarks 
were heard throughout the land and, indeed, it seemed a 
welcome relief to get away, for an hour at least, from the 
revolting language of the saloon, the gunman's lair, and 
the jarring remarks of abandoned women. 

Why not let us have a few more plays of this kind, by 
Pirandello, Rostand, Giacosa and Lord Dunsany? And 


how about Tschaikovsky's Christmas pantomime, "The 
Nutcracker", "Drigo's "The Enchanted Forest", Delibes' 
"Coppelia", Ibsen's "Peer Gynt" with Grieg's music, Felix 
Borowsky's "Boudour", John Alden Carpenter's "The 
Birthday of the Infanta", and Julius Mattfeld's "The Vir- 
gins of the Sun"? 

There is much material to draw from and much more 
could be written. Let the imaginations of the writers play 
a little and, in its turn, let the imagination of the audience 
come to life again. If the theatre is in a bad way — and it 
certainly seems to be — the quality of recent plays and 
the language used in those plays are responsible. It seems 
to us that there is a tremendous opportunity for the powers 
that be in radio to take advantage of this situation, to 
produce delightful plays of charm and imagination, with 
adequate music, and even specially written, when it is 

One hears on all sides the remark: "We do not go to the 
theatre. We cannot afford to pay $8.80 to see the lurid 
spectacles exposed on Broadway". A large portion of the 
public is apparently hungry for some of the finer things. 
If the radio programs can restore to these people the old 
theatre of illusion, the land of make-believe, that will en- 
chant children from six to sixty, then writers, musicians 
and listeners will develop, and the radio will truly succeed 
where the commercialized theatre has failed. 

We have no wish to see the radio supplant the theatre, 
but the present theatre is accomplishing its 
own ruin by rotten plays, by greedy specu- 
lators and by language that is hardly fit for 
sailors' ears. It seems to us that it is the 
duty of the radio to fill the gap with the 
things of fantasy, of charm, ofimagina- 
ticn and of fine music. 

Put an End to This Panic 

THE radio business is kept alive largely 
through income derived from adver- 
tising; that is, a sponsoring company has its 
wares announced frequently and eloquently 
— sometimes too frequently and not elo- 
quently enough — through the musical pro- 
gram, or the dramatic episodes that compose 
entertainment for the listener. 
"^«v, A survey of two broadcasting systems re- 

veals the fact that a certain type of adver- 
tiser is becoming far too aggressive on the 
air and certainly too objectionable in the studios. With 
a few hundred dollars to spend, he writes his own "con- 
tinuity", he blatantly inflicts his product on music that 
was certainly not intended to assist in selling any such 
commodity and, when his salesmen stalk into the great 
studios of the broadcasting business, a veritable panic re- 

Officers and administrators grovel before this merchant 
"king," engineers and production men are literally kicked 
out of the studios, writers and musicians are banished from 
the building, carpet is laid to the street, and, as one writer 
expressed it, "The Presence of God" descends for four 
hours on a huge business and paralyzes it. Clever and 
independent workers become a lot of hat-touching, grovel- 
ling slaves. A second-rate manufacturer is exalted to a 
positions of divinity. He is allowed to make a crude 
(Continued on page 46) 

JANUARY, 19 3 


Ether Etching/ I 

"Exchange Artists and Promote Peace" 

i4"|\T USIC can play a definite part in creating a better 
-'-"-*■ understanding among nations and thus leading to 
permanent international peace," says Kathleen Stewart, 
pianiste. "I believe that, with the intelligent exchange of 
good musicians, we would be well along the road to lasting 
peace. Where friendship exists there can be no war. Let 
us hear the singers and players of other lands. Let our 
musicians go abroad for public concerts. We exchange 
ambassadors, college professors, prize scholars and even 
Boy, Scouts. Why not exchange artists?" 

"Last Summer I made a delightful tour of England and 
France. I liked England very much and was impressed 

by the low musical 
pitch of the Eng- 
lish woman's 
speaking voice, 
particularly where 
the native culture 
has been brought 
to play upon this 
natural gift. I 
found the French 
people a little more 
sophisticated and 
light-hearted. But 
I received marvel- 
ous receptions in 
both countries." 

Kathleen Stewart 
is essentially the 
product of radio, 
She was heard 
"over the air" long 
before her slight 
figure, her violet- 
blue eyes and her 
dark, graceful 
head, appeared in concert halls. Miss Stewart is a native 
of this country, born on the high Palisades overlooking 
the New York City from the far side of the Hudson River. 
Her teachers in this city were Frederick Von Inten and 
Howard Brockway, and she made her first public appear- 
ance at the age of seven. Miss Stewart has studied the 
violin and organ, in addition to piano, and has composed 
and arranged for the 'cello and piano. 

Away from the studio, where she radiates a true musical 
personality, Miss Stewart is an exceedinglv busy young 
lady. She is an ardent, capable horsewoman and few men 
can drive an automobile better than she can. An expert 
cook and baker, a rare housekeeper, and a skilled architect, 
when additions or alterations to her charming country 
house must be made, she is essentially a domestic figure at 
home. She sews, makes dresses and does elaborate embroid- 
eries with consummate skill. 

Kathleen Steivart 

"Europe Listens In by Telephone" 

Wf ALTER KIESEWETTER, who has been "on the air" 

** through various stations for many years, returned 
recently from Europe. This means that his two large 
studios near Central Park will resume their accustomed 
activity and lavish hospitality. 

It was through the patience, imagination and rare musi- 
cal skill of Walter Kiesewetter and his gifted wife, Eleanor 
MacLellan, that the year-old feature Musical Overtones 
came into being and ran with much success over Station 

On this hour have appeared Adele Vasa, soprano; Ruth 
Haines, soprano; Mary Sylveria, soprano; the Glenn Sisters; 
Beatrice Kneale, 
contralto; Helen 
Oelheim, contralto; 
Lucien R u t m a n, 
tenor; Noel Enslen, 
bass-baritone; Wil- 
liam Menafra, bass- 
baritone; George 
Leache, baritone, 
and Herman Wil- 
li a m s, bass-bari- 
tone. Many other 
pupils of the Kiese- 
wetter studios have 
broadcast from 
WABC, WOR and 
on many offerings 
of the Judson Ra- 
dio Program De- 

The Kiesewet- 
ters' reactions to 
their European trip 
follow: "Very lit- 
tle jazz is heard on 

the other side. Only the best orchestras and operas are 
broadcast. Radio sets are not as common in the U. S. The 
telephone is the chief means of bringing in musical mes- 
sages. The telephone subscriber pays the Government a 
very moderate sum monthly, for which he can listen in at 
any time. 

"In Munich, to hear any of the operas from the various 
opera houses, all one has to do is to turn on the switch 
and use the head receivers or the loud speaker at will. One 
can remain comfortably at home and listen to all of the 
festival performances. The program manager in Munich, 
I am delighted to say, said he liked our Musical Overtones 
hour of last season immensely." 

Walter Kieseivetter 

The popularity Rudy has gained caused a wag to remark 
recently that the old Messiah aria should be changed to 
"Every Vallee Shall be Exalted." 



JTATIC pccm the XtWDICX 

(Continued from page 32) 

that George MacGovern owns the one 
chessboard and pieces, and that the 
other members of the club are con- 
vinced that it is "fixed." 

Henry Shope, NBC top 
tenor, recently went on the 
Hollywood 18 -day diet in or- 
der to reduce. However, 
■when he reached the eleventh 
day, there was not enough on 
the menu to appease his appe- 
tite, so he decided to go back 
to the third day's bill of fare, 
in order to satisfy his pangs. 


It is not always the crooner of popu- 
lar songs who receives the most letters 
from radio fans. As proof of this, Elsie 
Pierce, who conducts a class in beauty 
over WOR every Tuesday morning at 
11:15, has received so much mail since 
she started to broadcast a number of 
weeks ago, that she has been forced to 
employ three secretaries to take care of 
this detail. 

Margaret Harrison, supervisor of educa- 
tional broadcasting at Teachers' College, 
(formerly with the NBC), Walter Stone, of 
NBC Press Relations, with Florence U. 
Pierce, (who is really Mrs. Walt Stone), 
program board secretary of NBC, went to 
Yale recently to visit Miss Noel Pierce, one 
of radio's coming playwrights, who is now 
studying under Professor George Pierce 
Baker. But that is not the story. 

Walter tried to do the correct thing 
just outside the Yale Bowl. He stopped 
the car and opened a package declared to 
be "right off the ship". He put the con- 
tents into a pewter shaker, a wedding 
present. And lo! the shaker melted" 

It is said that Rudy Vallee has intro- 
duced a novelty in his late dance pro- 
grams in the nature of the Theremin 
instrument, which operates on the prin- 
ciple of controlled static. It is being 
featured in solos, with piano accom- 

With all the expert electrical engi- 
neers the NBC has under its roof, it 
seems rather ironical that a stranger 
from the outside should fix the loud 

speaker in one of the reception rooms 
at 711 Fifth Avenue, but such was the 
case recently. 

A man approached the hostess and, 
smiling blandly, said: "Well, I fixed it." 

"Fixed what?" she asked. 

"Why, the loud speaker in that re- 
ception room was out of order and I 
fixed it." 

"Are you connected with the NBC?" 
she asked him. 

"No, but I happened to be in there 
when it went out of order and I un- 
derstand those things, so I fixed it." 

And, so saying, he departed, not even 
waiting to be thanked — or reprimanded. 

John W. Rehauser, a local arranger 
well known in radio circles, toured 
some years ago with Sir Harry Lauder 
as conductor. Upon arriving in Aus- 
tralia, John asked Sir Harry not to lay 
undue emphasis on his nationality, 
pointing out that he was not a Prussian, 
but a Bavarian from Munich, where the 
beer comes from. In Sydney, Sir 
Harry introduced John as follows: 

"Don't mistake my conductor, John 
W. Rehauser, for a German. He's a 

Among the recent musical groups to 
have auditions in the NBC studios was 
a quartet of violins led by Anthony 
Rizzutto, of Brooklyn. This is said to 
be an unusual musical combination. 
I * * * 

Raymond Knight, of NBC, has been 
promoted again. He is now Vice-Presi- 
dent in Charge of Lunacy. 

In one of his recent Music Apprecia- 
tion Hours at NBC, Walter Damrosch 
conducted Ravel's "Daphnis and 
Chloe." In order to play this composi- 
tion it was necessary to add to the or- 
chestra a G-flute. This is probably the 

first time that this type of flute has 
ever been heard over the air. The G- 
flute, he explained, is a fifth lower than 
the ordinary flute and it gives a hol- 
low, ghostly sound. It is to the flute 
family what a consumptive person is 
to a healthy family. 

Lucrezia Bori, accompanied by her 
bright-eyed terrier, Rowdy, and Willie 
Perceval-Monger were seen strolling up 
Fifth Avenue the last sunny day, con- 
versing in Italian. 

The Metropolitan star and her dog 
attracted considerable attention. 

The most chesty and exalted an- 
nouncer in the world is John S. Young, 
of the NBC. He went to Yale with 
Rudy Vallee. Autograph hunters and 
photograph fiends please note! 

WOR is the scene of consid- 
erable friendly rivalry among 
its announcers, who in their 
spare time are engaged in writ- 
ing continuity for many new 
programs now being heard on 
the station. WOR has a board 
composed of its executives and 
presided over by Alfred J. 
McCosker, director of the sta- 
tion, which passes upon the fit- 
ness of all contemplated pro- 
grams. This board, which 
realizes that announcers are 
best informed as to how a pro- 
gram "clicks," gave them an 
opportunity to do some writing 
on their own account. This 
rule was responsible for such 
excellent bits of entertainment 
as Lewis Reid's "Tuneful 
Tales," Postley Sinclair's "The 
Troupers," and Basil Ruys- 
dael's "Red Lacquer and Jade." 
George Shackley, music direc- 
tor of the station, not to be 
outdone by the announcers, 
came forward with the Rack- 
eteers, a Friday night feature. 

JANUARY, 19 3 


Prcgram Nctex 

"Checker Cabbies" on WOR 

A distinctly urban program is that 
sponsored by the Checker Cab Sales 
Company, under the title "Checker 
Cabbies", which began a series of broad- 
casts covering thirteen weeks over 
WOR recently. It has a master of 
ceremonies, who not only does a turn 
of his own, but introduces guest stars 
of the various Broadway shows and cab- 
arets. Sherbo's Orchestra, under the di- 
rection of Murray Kellner, furnishes the 

To Start Educational Series 

The most comprehensive and thor- 
oughly worked out series of educational 
broadcasts for school-room reception 
ever attempted on a nationwide scale 
will be inaugurated over the Columbia 
Broadcasting System on February 4, 
193 0, sponsored jointly by the Colum- 
bia Broadcasting System, Inc., and the 
Grigsby-Grunow Company of Chicago, 
it was announced recently by William 
S. Paley, president of the Columbia 
System and B. J. Grigsby, president of 

Two afternoon half -hours each week 
running until the first of June, will be 
utilized in presenting programs for 
classes from fifth grade through junior 
high school, which will cover a number 
of subjects and utilize several types of 
presentation in an attempt to deter- 
mine the most satisfactory method of 
using radio for education. The decision 
to present this series was arrived at after 
several months of intensive research in 
radio education conducted by both the 
sponsoring companies. 

CBS Offers Service Bands 

The Army, Navy and Marine Bands 
inaugurated a long-time radio schedule 
with the Columbia Broadcasting System 
recently when the first concert by the 
U. S. Navy Band was broadcast to the 
nation directly from Washington, D. C. 
The number of band concerts by the 
service units will be expanded early in 
January, when Wednesday evening pro- 
grams will be broadcast alternately each 
week by the three units. These start on 
January 8. Broadcasting will be car- 
ried during these Wednesday evening 
schedules between eight and eight- 
thirty o'clock eastern standard time. 
The Army, Navy and Marine Band 
concerts are now being carried over 

WABC and affiliated stations of the Co- 
lumbia System five times a week. These 
morning and afternoon concerts origi- 
nate in Washington, D. C. 

Government on Air Often 

The Government of the United 
States consumes more time on the air 
than any organization or individual, it 
was revealed recently by M. H. Ayles- 
worth, president of the NBC. In the 
first ten months of this year, the letter 
disclosed, 245 government officials, in- 
cluding the President, were presented in 
programs over the NBC chains. More 
than 3 00 hours of broadcasting time 
was utilized for government activities 
during this period, it was stated. 

WOR Stars on New Program 

Three of WOR'S outstanding stars, 
George Shackley, Roy Smeck and Don 
Carney, have combined their talents in 
an hour which is expected to become 
one of radio's most notable features. 
There is scarcely a program emanating 
from WOR which does not have a 
"Shackley" trademark. He is the music 
director of the station and is respon- 
sible for many individual programs, 
such as Moonbeams and Choir Invisible. 

Roy Smeck is regarded as one of the 
world's best performers on the banjo, 
guitar, ukulele and a half dozen similar 
instruments. He learned to play from 
phonograph records, and is now in de- 
mand by all of the big recording com- 
panies. Mr. Smeck is not only a star 
of the Keith-Albee circuit, but is one 
of its highest paid artists. He was one 
of the first of the Vitaphone stars as 

For this program, Don Carney steps 
out of his character of Luke Higgins. 
His friends say that it will show him 
in his true role, that of a comedy singer 
and humorist. 

Bob Pierce, "Old Man Sunshine" 

Sherry's Tea Music on Air 

Tea dance music from Sherry's Res- 
taurant on Park Avenue is being broad- 
cast over the NBC System by Emil 
Coleman's orchestra three afternoons 
each week. These dance programs come 
directly from the main dining room and 
the Gold Room of Sherry's, where Park 
Avenue gathers. The orchestra is 
heard on the following weekly schedule 
over WEAF and associated stations: 
Fridays, from 4:30 to 5:00; Tuesdays, 
5:00 to 5:30; Wednesdays, 4:30 to 
5:00 P. M. 

New Station on CBS Chain 

Effective recently, Station WMT, 
Waterloo, la., was added permanently 
to the coast-to-coast CBS network. The 
newly added station operates with a 
power of 500 watts on a frequency of 
600 kilocycles, and is owned and man- 
aged by the Waterloo Broadcasting 
Company, owners and publishers of the 
Waterloo Tribune, one of the leading 
daily newspapers in the state. 

Three New Stations for NBC 

Three stations recently have been 
added to the NBC networks, making a 
total of seventy-four stations on its 
chains. One of the new associated sta- 
tions is KECA, Los Angeles, owned and 
operated by Earle C. Anthony, Inc. It 
becomes seventh station on the Pacific 
Coast network of the NBC. KECA 
operates on a wave length of 209.7 
meters and a frequency of 1430 kilo- 
cycles. It uses a power of 1,000 watts. 

The addition of Station WJDX in 
Jackson, Miss., makes it the first sta- 
tion in Mississippi to become a perma- 
nent outlet for a national network. This 
new addition is owned and operated by 
the Lamar Life Insurance Company. It 
operates on a wave length of 236.1 
meters and a frequency of 1270 kilo- 
cycles, with a power of 500 watts. 

In response to an overwhelming de- 
mand on the part of Canadian radio 
listeners, as expressed in petitions, tele- 
grams and letters, Station CKGW in 
Toronto, Canada, was added to the 
NBC network. This station operates 
on a wave length of 434.8 meters and 
a frequency of 690 kilocycles. It uses 
a power of 5,000 watts. Gooderham & 
Worts, Ltd., of Toronto, own and op- 
erate the station. 



Colorful Russian Soprano Is "La Palina 


Zinaida Nicotine One of Radio's Most Gifted Artistes, Has Sung for Royalty 

/COMPELLED to leave Russia after the Revolution, Mme. Nicolina 
^-* found refuge in Constantinople, where she remained as a guest 
at the Royal Palace. King Alfonzo of Spain, M. Millerand, then 
president of the French Republic, the late Ambassador Herrick 
and many titled personages have heard her lyric voice in special 
recitals. Morris Gest, the well-known impresario, was instru- 

mental in convincing Mme. Nicolina that she should come to 
America — and in his Chauve Souris. She has found everything 
here very much to her liking. Although she has appeared on the 
stage, in concert and recital, on the large vaudeville circuits and 
in supper clubs, radio holds the greatest appeal for her. She ap- 
pears as La Palina on WABC and the Columbia chain. 

JANUARY, 19 3 


.^ a ^ ^ ^ * a a » ^ x ^ *v * ^ «t ^ ^ ^ ^ *. ^ %. <t ^. ^ k ^. ^. %. ■%. ^ ^.^^.^v^s^-^^^^.^'^.^^.^.^-^^.^^.^^-^-^.^^.^v^-^.^^^ .^- ^ a- ^ .^- -..^- %*-^ v ^* ^w ^■■■a" 1 f ^.'%.' ^'♦."^''^' ^"^." ^ %.'fcVk'%.'' , if' 



A Really Minute Revue 

To the Editor of Radio Revue: 

Enclosed find $4 for two subscriptions to Radio Revue. 
Long may Radio Revue live, is my wish. A really up-to- 
date and minute revue. — W. K., New York, N. Y. 


Calls First Issue a Treat 

To the Editor of Radio Revue: 

It was a real treat to read through the first issue of your 
new magazine. To me, the fascination and success of it 
lies principally in the fact that one need not be technically 
radio-minded or even a rabid "radio fan" to find keen de- 
light in it. The cover was splendid and the lay-out ex- 
cellent. My heartiest congratulations to you and my best 
wishes for your success. Put me on your subscription list. 
— M. E. C, New York, N. Y. 


Takes Issue With "Average 

To the Editor of Radio Revue: 

I am delighted with Radio Re- 
vue. Enclosed please find my sub- 
scription for one year. I have 
always thought a radio magazine as 
necessary to a "fan" as "Photo- 
play." The public is very much 
interested in the personalities of the 
radio; there is the same lure of the 
studio as there is of the stage. 

There are things in your first 
issue that I especially commend. 
First: "Wanted: Air Personality," 

by Allen Haglund, and "Behind the Mike during the Pal- 
molive Hour — this latter is one of my favorite hours on 
the radio — also the story on the Philco Hour. I have 
had the pleasure of hearing this ensemble broadcast in the 
NBC studios and it was a most enjoyable experience. 

I have often wondered why my favorite prima donnas 
of grand and comic operas came over the air so negligibly. 
Now I know. They may have stage, but not "air" per- 
sonalities. This will interest many listeners, I know. 

Up to date I have not learned "the secret of Rudy Vallee's 
success," but that is wholly my fault — I was born in the 
wrong generation. 

Please let me wish you the greatest success in your new 
venture, "plenty of fun with this magazine," and lots of 
money. Personally, I haven't the slightest doubt but that 
it will prove to be "the most entertaining magazine 

I have read the article by "Average Fan" and I differ 
so violently from him that, being of Irish descent, I want 

to start something. Some things he likes just make me 

Jazz! Horrible stuff! When I hear it I am so thankful 
that it is a radio that I can shut off. If it were a talkie, 
mon Dieu! Amos 'n' Andy — shades of Primrose and 
West — but, enuff said. There are no words! (unless cuss 
words — and I don't use 'em). 

Being bored by "big symphony orchestras playing Bach!" 
I admit Bach is not the fondest thing I am of. But Wal- 
ter Damrosch's delightful voice is such a joy! Please let 
us have the symphonies. Don't let "Low Brow" get all 
the joys of radio. 

Now, just to show how broad some listeners can be: I 
heartily agree with "Average Fan" about the "sweet 
sweets," Roxy and Lopez — Kaltenborn, too. But I hope 
your magazine will remedy this. In the hinterland, where 
I live, I don't get him. I know — I might just as well live 
in Los Angeles. You New Yorkers get so much that you 
think that when you leave New York, you are camping 
in the wilderness. 

Jimmy Walker! Not for me — 
and I'm a Democrat most of the 
time. I'm such a good Democrat 
that I am mighty glad Al Smith 
wasn't in the White House during 
the stock market crash. 

But, I do like your magazine. 
It has entertained me all evening, 
just as well as any radio program. 
— Timidly, L. G. Currin, Newport, 
R. I. (The Irish burn out that way. 
They start flaming mad, but just 


To the Editor of Radio Revue: 
I wish to congratulate you on 
the way Radio Revue's first issue looked. It has made 
quite an impression, both at my office and at home. Mrs. 
A. found it most interesting reading and informed 

me that she felt it has wonderful possibilities. At once 
she became interested in the Main Street program, which 
happened to be on the air at that moment. Reading the 
article and seeing photos of the characters certainly made 
a vast difference. 

To my mind, Radio Revue will do for radio what the 
movie magazines have done for the movies. I feel certain 
that you have a wonderful opportunity in your new field 
and I wish you every success. I hope to see your new 
magazine one of the leaders real soon. — T. G. A., New 
York, N. Y. 


To the Editor of Radio Revue: 

We wish to add our congratulations to those you have 
no doubt received on the appearance and contents of your 
first issue. — M. S. B., New York, N. Y. 



Eadic in the Home a i 

Edited by Mrs. Julian Heath 

Pioneer Broadcaster of Market Reports and Daily Menus 

^^,^S^s^«^£«^ i ^N^£^v^£^.^£^^^.^£v^.^£K^S^'^N^£^^v^>^^^^^^^^^\^\^£v^V^V^-^-^^^s^>^V^V^ > ^£^^.^S^N^.^.^^^-^--»^ "A* "%~-^ /^'^ '^ ^ ^."^." S ^ "^. '^.'^. "^. '^. ^."^?^ , W^'^^^^^ S ^ , ^ > ^ V ^^^^^'^'^ V ^^^ , 

Hello, Neighbors! 

We have been kept busy responding to the hearty ap- 
plause that greeted the first issue of this publication. 
Everyone gave the entire magazine a rousing welcome. I 
am particularly pleased that you all liked this department, 
which is dedicated to you. 

The radio makes us all neighbors. Recently a listener, 
who lives in West 70th Street, New York, referring to 
my salutation, wrote: "I like our daily radio conference 
over WJZ. It is all right, excepting the 'neighbor' pari:. 
There are no neighbors in New York City." I am indeed 
sorry that this friend has not yet acquired radio conscious- 

Well, we could chat a lot about how the radio "makes 
the whole world akin," but the Editor said to me: "Give 
them more of the artists' recipes. Everyone likes them. 
Indeed, the girls in the office could hardly wait to get the 
magazine off the press, in their anxiety to try Milton 
Cross's favorite dessert, the well-known toasted cocoanut 
pie." Did you try the recipe? 


I wandered through the studios the other day, and gath- 
ered some more of these artists' recipes for you. You, of 
course, know Henry M. Neely, Philco's "Old Stager." My 
first introduction to Mr. Neely was five years ago, when 
he wrote to me from Philadelphia, and requested a recipe 
for chocolate ice box cake, which then was, and still is, 
popular. I wish I had his letter to give you now. It was 
a veritable SOS. It was extremely interesting and quite 
characteristic of Mr. Neely. However, I can give you 
the recipe that went to him by return mail. Here it is: 

The ingredients are: 
1 lb. lady fingers 

4 squares bitter chocolate (more if desired) 

5 eggs 

1 cup confectioners sugar 

1 teaspoonful vanilla 

1 pint whipped cream 
Proceed as follows: Melt chocolate to thick consistency, add- 
ing two tablespoonfuls of milk to the chocolate. Now add 
yolks of eggs and one cup of sugar, then the beaten whites of 
eggs, and then the vanilla. 

This is how the cake is made: Use spring form pan. First 
place in the pan a layer of lady fingers, then a layer of the 
chocolate mixture, then lady fingers, and repeat with choco- 
late mixture until all are used. Next place whipped cream on 
top and let stand in ice-box over night. You can sprinkle 
with nuts, if you like, or garnish to suit your fancy. 


You know, we who are on the air always like to receive 
your letters in order that we may be of greater service 
to you. Moreover, the program managers learn from your 
letters whether or not you like the programs and the ar- 
tists. Radio letters are silent applause, which speaks more 
loudly than you think. 


I ran across Mrs. Harold Branch, wife of the NBC tenor. 

She was not at the piano this time, but at the telephone. 
"Tell me," I said, "What does Mr. Branch like best to 
eat?" The question seemed far away from the beautiful 
sonata she had just played on the air but, after a mo- 
ment's thought, she said: "Steak." "Nothing else?" I 
asked. "No, just steak, provided he has plenty of it." I 
am sure that most men will applaud his choice. 

These touches of the artists' home life must not all be 
devoted to the gentlemen. There are many ladies whom 
you hear on the radio, and now we will give them the 
last word. They say that we women will have it anyway. 
Miss Kathleen Stewart, pianiste, who is "Kathleen" to 
everyone at the NBC, is charming, beautiful, and an ar- 
tiste to her finger-tips, pianistically speaking. Recently 
I met her and said: "Kathleen, please give me a recipe for 
the listeners-in. What do you like best to cook?" She 
paused a moment, with creamy fingers poised in the air — 
she was busy creaming her face — and said: "Why, I have 
so many favorite dishes I hardly know which to choose. 
Possibly you would like to know about my meat pie." 
Here it is: 

The ingredients are: 

2 pounds chopped beef 
2 cups milk 
2 cups bread-crumbs 
l /z onion, finely chopped 

J /2 teaspoonful thyme or poultry seasoning 
Proceed as follows: Blend beef and bread crumbs. Add 
milk and let stand until absorbed. Work in onions and 

The ingredients for the pastry are: 
2 cups flour 
l /z teaspoonful salt 
1 cup shortening 
Proceed as follows: Bake in pie tin in oven, first hot then 
moderate. Serve very hot. 

Kathleen told me about a neat little decoration that she 
adds to her meat pie. It's quite a trick. Take a strip of 
pastry 1 l /z inches wide. Slash the top edge about one- 
half inch down. Now roll it up and insert it in a hole 
in the center of the pie. After you have it placed, open 
the slits as if you were bending down the petals of a 
flower, and, when the pie is baked, it will be "Oh, so at- 
tractive," as Miss Stewart put it. "Oh, yes, it is baked 
with two crusts in a pie plate, not a casserole," she added. 

You can see from this that Miss Stewart is as practical 
as she is artistic. Moreover, she whispered to me — and I 
now whisper to you — "This is the recipe I use for my best 
beaux." (Note the plural.) 


Well, I guess that will be enough recipes for this issue. 
Try them and, if no ill effects are reported, I'll gather 
more for you next time. You see, all of these artists enjoy 
good things to eat. In fact, they are always talking to me 
either about what they have just eaten or are just going 
to eat. You folks get their artistic side, while I see them 
from another angle. 

JANUARY, 19 3 







Let's make a landing 
— anchor the Magic 
Carpet to a tree, 
somebody. We'll ex- 
plore these inviting 
valleys* and twist 
nosegays of fluttery 
golden poppies. 

This is Poultry Paradise — the abiding place of Spring. Year-long 
she lingers, her green robe starred with blossoms. But surely there 
is snow on those emerald hillsides? — Only the snowy plumage of 
myriad hen-princesses. And those egg-cases, speeding along the roads 
in smartly painted trucks? — They are the jewel-boxes of the hen-prin- 
cesses . . . rows of milky pearls . . . and every pearl an egg brimming 
with vitamins . . . the gift of Spring's gentle sunshine. 

No icy breath of winter here to "chill" these pearly eggs — no 
broiling summer days to "heat" their delicate contents, and spoil the 
freshness of flavor which has won them fame. 

Fastidious babies, fanciful invalids, and fussy cooks 
where . . . wait eagerly for these gems of healthf ulness. 

. every- 

"Yes, but where are we?" you interrupt, insistently. Didn't you 
see the blue Pacific as our Magic Carpet sped? To become geograph- 
ical, our gypsy trail winds through chosen localities in Central Cali- 
fornia and Western Washington — the beautiful country selected by 
expert poultrymen as the source of "PEP" and "SUNRISE" eggs. 

.*. W 

Pacific Egg Producers 


*CH£ €GG IVZTTf *GHS 91£?>Z7<T^4TI02V"' 




Seattle, Los Angeles, San Diego, Detroit, Pittsburgh, Boston 
Panama, Buenos Aires, Valparaiso, Lima, London, and Glasgow 



A Streak of Sunshine 

THIS long streak of sunshine is Dariel Jones, of NBC. 
She is the Daddy Long-Legs of radio and is a real 
radio beauty. Born in Chicago, Dariel was educated 
in grammar and high schools there, and finally landed in the 

University of Minnesota, 
of which latter institu- 
tion she is a graduate. 
She studied music pri- 
vately and in college, and 
became an accomplished 
pianist, but in her pres- 
ent capacity of produc- 
tion representative she 
can order other artists to 
play for her. Dariel 
joined the NBC forces 
early in 1927, booking 
day-time programs, and 
she has made a host of 

Miss Jones likes the 
theatre and music, and 
has advanced about three 
holes in the science of 
golfing with the aid of 
a professional. She is 
rapidly learning the golf- 
ing language, and the 
necessary oaths. Her 
most prominent vice is 
painting apartments and 
furniture. Dariel can 
take a lot of nice furni- 
ture and a new apart- 
ment and make them 
look like an undigested 
vegetarian dinner. In 
this process of painting, 
a great quantity of the 
assorted color lands on 
Dariel. She has often 
been mistaken for a piece 
of modern furniture, largely due to her lofty, fireproof 
construction. (See sketch). 

As soon as an apartment is painted and the furniture 
changed beyond recognition, Dariel starts right in re- 
painting for the Fall, or the Winter. If she cannot repaint 
for the fall or winter, she puts on her smock and repaints 
for the spring or summer. Seasons mean just so much 
repainting to Dariel. Her real name, by the way, is Dariel 
Harriet Jones. People with the middle name of Harriet 
are always fussing with houses and apartments, as you well 
know, and nothing will stop them. 

Although she is a remarkably good-looking girl, Dariel 
Jones's pet aversions are being photographed or inter- 
viewed. The best we could do was this drawing, sneaked 
in a moment when she wasn't looking, and this interview, 
which she will promptly deny. She has definite hates of a 
number of people, but these are more than compensated for 
by the number of apparently intelligent people who get 
in her way when she passes, so that the sunshine of her 
presence, or the shadow of her sunshine, or whatever it is, 
may fall upon them. 

Dariel Jones 

Radio Gives Dan Cupid a Helping Hand 

{Continued from page 10) 

goddess Radio, who had helped him line up the pretty pair 
so that a single arrow might transfix their beating hearts. 
The advent of the loudspeaker and the vacuum tube 
changed things a bit, but radio lost none of its effectiveness 
as a matchmaker. There's probably not so much rubbing 
of heads nowadays, but, at that, it takes quite a bit of close 
work to bring in a distant station. I've lost several pals 
that way. 

Nothing to Break the Spell 

As a general thing, there is nothing more conducive to 
spending an evening in the parlor, where, as everyone knows, 
Cupid fights and wins most of his battles, than the promise 
of a few hours of music, good, sweet or hot, as the fancy 
turneth. Curled up in the big chair, with the electric light 
fuse in no danger of blowing out, Bill and Beatrice are 
lulled into romantic mood by the steady outpouring of 
tuneful melodies. No changing of needles, no turning of 
records, no disturbing sessions with the crank handle, noth- 
ing to break the spell. 

And somehow those ingenious gentlemen who build pro- 
grams see to it that the glamorous theme of romance runs 
unfailingly through each precious Hour. Thus there is a 
sequence of songs seemingly calculated to put ideas into 
young folks' heads. They hear, in the rather significant 
order named, Love Me, Vagabond Lover, Kiss Me Again, 
You're the Cream in My Coffee, Lover Come Back to Me, 
All 1 Need is You, Singin' in the Rain, The Pagan Love, 
Song, I Love You Truly, I Can't Give You Anything But 
Love, Girl of My Dreams, I May Be Wrong — But I Think 
You're Wonderful, Woman Disputed, I Love You. 

By this time the great conspiracy has done its work, and 
the conversation, which is now hardly more than a purring 
of coos and gurgles, has turned to such important subjects 
as platinum settings, engraved invitations, honeymoons, 
apartments, furniture on installment, and so on. As the 
Hotel St. Whoozis Orchestra (the ideal place to dance — 
adv.) winds up its program with a rousing Papa Loves 
Mama, the contract is sealed with a very appropriate kiss. 
Bill reaches for his hat, and Beatrice, discerning little hunt- 
ress, switches off the radio, thinking what a splendid in- 
vestment it was. 

Such Conquests Are Easy 

But such conquests are comparatively easy for Dan 
Cupid. It's the problem of separation that bothers him. 
Distance doesn't lend enchantment, he has found, nor does 
it make the heart grow fonder. When Bill and Beatrice are 
torn asunder, the great difficulty is to keep their affection as 
bright and glowing as when there are no miles between 
them, and to this end Dan Cupid has again enlisted the 
aid of radio. 

It's one of his own ideas; he calls it the Radio Date, and 
it works something like this: Bill is now in Pittsburgh — 
one of those important business calls that prove so danger- 
ous to the continuity of a romantic theme. Beatrice pines 
at home. Letters are so infrequent, and 'phone calls so very 
expensive. If only she knew what Bill were doing at that 
very moment, where he was and what he was thinking. 

JANUARY, 19 3 


Then comes the Radio Date. They have arranged that, 
at exactly 9:30 P. M., both shall listen to a certain pro- 
gram — the good old Sapolio Hour, for instance. And Bill, 
'way out in Pittsburgh, hears the very same things in the 
very same way and at the very same time that Beatrice, 
back here in old New York, hears them. Every note of 
that song at exactly that moment is tingling in Bill's ear, 
just as it tingles in hers, is bringing up the same thoughts, 
the same memories. The very same vibrations that she 
thrills to are at one and the same time thrilling him. It's 
just as if they were in the same room together, enjoying 
the same music, the same emotions; he seems so close, so 
near, he's holding her, his breath's on her cheek, he's mur- 
muring something! 

Oh, isn't love grand! Isn't radio glorious! 

One of the "Daddies" of Radio 

Merle Johnston Succeeds by Virtue of 
"Sax" Appeal 

{Continued from page 23) 

therefore, capable of the finest musical expression. 

Once he had mastered his saxophone, he had no difficulty 
in obtaining engagements to make phonograph records and 
to broadcast. His radio work increased tremendously, to 
the point where it now absorbs practically all of his time. 
He is heard as soloist on many hours and also as a con- 
ductor. Since he started to broadcast he has been identified 
on the air with 45 commercial accounts. This, he claims, 
is a record number. Included in these are the Ipana 
Troubadors, the original Clicquot Club Eskimos, the 
Palmolive Hour, Cities Service Hour, A. & P. Gypsies, the 
Seiberling Singers and the R. C. A. Hour. 

Mr. Johnston recently left the NBC fold to go over to 
WABC, where at present he is conducting the lively Ceco 
Couriers Hour. It is said that at almost any time now the 
Gold Strand program will go on WABC under his able 

Some time ago Mr. Johnston organized a saxophone 
quartet that has attained widespread popularity as a radio 
feature. This quartet plays popular tunes, but makes a 
specialty of the classics. All its numbers are specially 
arranged by a man whom Mr. Johnston has employed to 
work exclusively for him. 

An interesting fact, especially to musicians, is that Mr. 
Johnston is the designer of the B-flat tenor mouthpiece, 
which permits easy blowing and gives a rich, resonant tone 
quality. He says he will gladly send to anyone who writes 
him at his studios, 1 5 1 West 46th Street, New York City, 
a fine booklet describing this mouthpiece. 

Holds High Place in Field 

In addition to his many other activities, Mr. Johnston 
is a composer of high standing. He has written several 
excellent saxophone solos, including Valse Elegante, Morn- 
ing Glory, Blue Streak and Tip Toes. These have all been 
published by the Robbins Music Corporation. 

That Merle Johnston has succeeded in his effort to raise 
the saxophone to a place of dignity among musical in- 
struments is attested by the high place he now holds in 
that field. And yet, despite his success, he still remains the 
student. He listens to all the masters, either in the recital 
hall, over the radio or on the records. He realizes full 
well that there is still much to be learned. 

ewe OF 'HE- 

oeitjiwrtes of 

Toe. "Ner l/meic" 
-To THiS 0« HE 

Vm> -"nets " 

YOU will not fail to recognize this estimable gentle- 
man. He is George Ford McClelland, vice presi- 
dent and general manager of the NBC, the bright 
Pollyanna-like person who likes only work and radio. He 
and Commander Dick Byrd are the only two living peo- 
ple who have had special broadcasts written and directed 
especially for and at them. 

George was seated right in the midst of a bevy of tele- 
phone girls downtown when the stork walked in with the 
new baby WEAF. This was early in 1922 and the young- 
ster even then was reasonably healthy. He did not quite 
know what to do with it, so he carried it from 34 Walker 
Street to 19 5 Broadway, where they will take in anything, 
it seems. He was at that time in the Commercial De- 
partment of the New York Telephone Company, and he 
at once became identified with the management of the 
new WEAF, in the capacity of commercial manager. 
W. E. Harkness was then station manager, and the first 
two announcers were Vischer Randall and A. V. Leufrio. 
Sammy Ross was then program director — if you are in- 
terested in all this history — Helen Hann, first accom- 
panist and director of phonograph records, and Marion 
Lamphere was mistress of programs. 

Things were not so hot in 1922. Broadcasting was 
done two or three times a week — when the transmitter 
worked — and sometimes the programs went "on" but not 
"out". (A program may be on, but it is not always, out 
on the air!) Jack Truesdale was plant manager in charge 
of the refractory transmitter. Sometimes he had it tamed 
and obedient. 

George Ford McClelland is a connoisseur of good things. 
His only diversions are the radio, from early morning until 
the midnight "sign off'", and his annual vacation in Ha- 
vana, where he purchases the year's supply of the cele- 
brated Nemo cigars. His popularity is astonishing 
throughout the works. He was responsible for the first 
transcontinental broadcast, and for the first commercial 
network broadcast . 

And he is a thoroughly good 




Best Selling Popular Songs of the Month 

RADIO floods the country's homes with music and brings 
the popular songs of the day before the public as does 
no other medium. In fact, most of these songs become 
popular in proportion to the extent to which they please 
radio listeners. 

Each month Radio Revue prints here the names of the 
ten best selling popular songs of the month. For the past 
month, as compared with the previous month, it is interest- 
ing to note that Sin gin' in the Rain, which had topped the 
list, has dropped to fifth place. The two song hits of the 
Gold Diggers of Broadway, Tiptoe Through the Tulips and 
Painting the Clouds with Sunshine, have moved from second 
and third places to first and second places respectively. Loie 
Me has advanced from tenth place to seventh. 

It is interesting to note that six of last month's Big Ten 
have dropped out of the group entirely. Such stand-bys as 
Am I Blue?, Pagan Love Song, Lovable and Siveet, Song of 
the Nile, Little by Little and Sleepy Valley have been re- 
placed by // / Had a Talking Picture of Yon, Love, My 
Sweeter than Sweet, My Fate Is in Your Hands, I'm a 
Dreamer; Aren't We All? and A Little Kiss Each Morning. 
This demonstrates how quickly the American taste in popu- 
lar music changes. 

1 . Tiptoe Through the Tulips 

from Gold Diggers of Broadway. 

2. Painting the Clouds with Sun- 

from Gold Diggers of Broadway. 

3. If I Had a Talking Picture of 

from Sit ii n y Side Up. 

4. Love 

from The Trespasser. 

5. Singin' in the Rain 

from Hollywood Rente. 

6. My Sweeter Than Sweet 

from Sweetie. 

7. Love Me 

8. My Fate is in Your Hands 

9. I'm a Dreamer; Aren't We 

10. A Little Kiss Each Morning 

from The Vagabond Lover. 

Another notable fact is that last month, of the ten best 
selling songs listed, nine were' theme songs from talking pic- 
tures, whereas this month's list contains only seven theme 
songs in the first ten. This may mean that the theme-song 
idea has about run its course and that we shall shortly see a 
reversion to the old order. 

Browne and His Banjo Moulded Career 

(Continued from page 20) 

shadow." Unable to do real work because of his condi- 
tion, he turned to the lecture platform. He travelled 
throughout the East delivering his talk, "Six Months With 
Uncle Sam," in which he embodied all the elements of 
drama so that each listener would feel that his fifty cents 
was wisely spent. 

When it appeared to Browne that every one who so 
desired had heard his lecture, he decided to seek a career 
in politics. That was in 1900. He lost. No more politi- 
cal aspirations. But the odds had been decidedly against 
Browne. He spoke for William Jennings Bryan. 

Then he turned to the "boards" in an effort to elevate 
the American stage. He found it a difficult task, but for 
twenty-five years he continued in his efforts. Whatever 
he has done for the theatre, he believes that it has done 
much for him in return. 

During the last ten years he has played every conceivable 
kind of a part in comedy, drama and tragedy, and for 
four seasons has had prominent parts in musical comedies. 
He appeared as leading man with Lillian Russell, Mary 
Ryan, Rose Stahl, Frances Starr, Edith Taliaferro and 
Irene Bordoni. 

Only a short time ago he appeared in the leading role of 
Channing Pollock's "The Fool', succeeding James Kirk- 
wood. His last engagement in the theatre was the por- 
trayal of the Rev. Morrel in the Actor's Theatre produc- 
tion of "Candida", by Bernard Shaw. 

Acted With Early Movie Stars 

Browne also was with many of the stars in their earlier 
moving picture successes. He played opposite Mary Pick- 
ford when her now shorn curls were just coming into 
prominence. One of his last appearances was with Con- 
stance Talmadge in "Scandal". Between these two pic- 
tures he had feature roles with Mae Murray, Hazel Dawn 
and Corinne Griffith. 

All this while the banjo was hibernating. Finally the 
opportunity came. The Columbia Phonograph Co. offered 
him a contract to record his numbers with his own accom- 

In January, 1926, George Harrison Phelps saw great 
radio possibilities in this versatile man and offered him the 
management of Station WGHP, in Detroit. Browne and 
his wife deliberated as to the possibilities of the "Air" and 
finally decided to leave the good ship Drama for the 
shores of Radioland. There he was an instantaneous suc- 
cess. In August, 1927, he joined the Columbia Broadcast- 
ing System, at the suggestion of Major Andrew White. 

Here his years of experience in the dramatic and musical 
lines stood him in good stead. He originated and produced 
the Cap'n Kid program, in which he was the "Old Rascal" 
himself. He later portrayed the Cap'n in the Buccaneers 
and his singing in the opening chorus was a feature. 

Browne takes a hand in everything from announcing — 
he was known to the radio public as the "Voice of Co- 
lumbia" — to heavy "Mellerdrammer" in his "Hank Sim- 
mons's Showboat", one of radio's most popular programs, 
now in its fifteenth month over the Columbia chain. 

JANUARY, 19 3 


Farmers Want Less Jazz 

The farmer is reported to be highly inter- 
ested in the movement initiated by Secretary 
Wilbur to increase educational broadcasting. 

Farm people are demanding a greater num- 
ber of educational programs and will take full 
advantage of any broadcast that brings them 
knowledge or information, says Morse Salisbury, 
chief of the radio service of the Department of 

Answers to questionnaires regarding the im- 
provement of programs have indicated that a 
large percentage of farmers believe there is too 
much jazz music on the air and that they would 
welcome more educational features, he said. 
Surveys have shown a pronounced demand for 
more talks, for old songs and other "good 

Will Radio Wonders Never Cease? 

{Continued from page 24) 

and there are 2,974 by actual count in each microphone — 
is stamped with the letters NBS. This was found neces- 
sary in order to prevent spurious detection. 

With the development of the left-handed microphone 
the NBS found it necessary to establish a new department 
which will be known as the Carbon Particle Audit division 
and which will be in charge of a vice-president as is the 
company's wont. Here a large staff of expert carbon coun- 
ters will be kept busy each day checking the number of par- 
ticles in the microphones. If, through fusion or coherence, 
the number of particles is decreased or nullified, the pecu- 
liar functions of the new equipment automatically become 

The new type of microphone will be demonstrated dur- 
ing the initial broadcast of the Kiwanis Kapers program, 
a new presentation sponsored by Rotary International, 
which will be heard through a shore-to-shore broadcast 
over a network of stations associated with the Natural 
Broadcasting System. 

Oscar Writes Margy All About "Original 
Radio Girl" 

(Continued from page 4) 

She has had to reject three counts already. 

I have also heard some other interesting things about 
her, Margy, which I will tell you. She always wears ear- 
rings and has such a big collection she could change them 
three times a day for two months and never wear the 
same pair twice. She has a farm up in Connecticut where 
she lives in the summer and she likes accordion music — 
she says it is swell, which is a gag, sort of. She is a good 
cook and likes to give parties and I hope to be invited 
someday after I have become a great radio tenor. 

Well, Margy, if there is anything more you want to 
know about Miss de Leath or any of the other important 
radio stars just ask me as I expect I will know them all 
personally. Now I have to run up to Milton Cross's 
house, as he forgot his rubbers. 

Love and kisses, 


Life Insurance! and Annuities 

Herbert L. Westfall 

Special Agent 

99 Warren Street 

New York City 

Suite 122 

'Phone— BARclay 7169 










Is Your 
Radio Artist? j 

—and Wfvy. 7 j 

'TpHE Editors of Radio 
-*" Revue will pay Ten 
Dollars for the best 
letter on this subject and 
Five Dollars for the sec- 
ond choice. 

Write plainly and on 
one side of the paper 

Winners will be an- 
nounced in the February 

S Radio Revue I 

Six Harrison Street 
New York, N.Y. 

Ohio Soprano and Georgia Tenor Win 
Atwater Kent Auditions 

{Continued from page 7) 

"Don't let it worry you," was the reply of an NBC 
official who happened to overhear. "Neither of the last 
two winners wore dinner clothes." 

But no one encouraged Miss Rowe when she was selected 
as No. 1 and asked to sing first by telling her that the 
No. 1 singer had been adjudged the winner for the past 
two years. She did not learn this until after she had 
cried in her father's arms on hearing Graham McNamee 
announce her name to radio listeners as the victor. 

Miss Rowe's soprano voice was nourished in an atmos- 
phere of music. Her father, Neill O. Rowe, who played 
the accompaniment to her "Shadow Song," from 
"Dinorah," by Meyerbeer in the finals, is Dean of Music 
at Wooster College. Her mother also is a fine musician. 

As a result, Miss Rowe has "been singing ever since I 
could talk." Three years ago, when she was eighteen, she 
began serious voice cultivation. Since then she has been 
actively identified with church choirs, the Wooster College 
Glee Club, the Oratorio Chorus, the Fortnightly Club and 
other vocal and musical organizations in her home town. 

Both young singers will be heard frequently in Atwater 
Kent programs through the NBC System. 

Mr. Fussy Fan Admits He is a "High Brow" 

{Continued from page 18) 
get too much for nothing and hence fail properly to appre- 
ciate what is done for them. Of course, some method of 
taxing each owner of a radio set and using the funds so 
obtained to put on high class programs — such as is done in 
England — would perhaps have been the most effective 
means of stabilizing the industry. However, the infant 
radio grew so rapidly and to such vast proportions that 
there was no holding it. 

Will the present system continue, or will there be an 
entirely new order? What will be the result when tele- 
vision develops to the point where millions of homes have 
their own sets, as they now have radio receivers? What 
would happen to radio if the Federal Radio Commission 
enacted a ruling that prohibited chain broadcasting? These 
are all questions that face the radio listener who is in- 
terested in the future of broadcasting. Only time can 

answer these queries. 

»-. ■ m •-• 


{Continued from page 34) 

speech into the microphone, and people who ought to know 
better kneel down muttering "The Presence is here!" 

When an advertiser takes a thousand dollar advertise- 
ment into the office of a great newspaper, do the presses 
cease to function and does the editorial force rush to the 
street with red carpets and servile salutes? They do not! 
And the sooner the radio business recognizes that the ad- 
vertiser comes into its halls as a guest, and not as a con- 
trolling and paralyzing influence, the happier will be lots of 
people working in it. 

The radio business, until it finds some other dignified 
source of income, will have to take the advertiser's money, 
we presume. But do not let us witness the spectacle of a 
great corporation and it officers kneeling in fear and trem- 
bling before a tin merchant "idol." While the radio busi- 
ness may require money, does it need it as badly as that? 

JANUARY, 19 3 


Mere Man Wins First Prize in Rudy Vallee 

(Continued from page 27) 

Second Prize Letter 

I was glad to see in your inaugural issue the article about Rudy 
Vallee. But the author — or are Ye Editors to blame? — just would 
bring up the question of what is the secret of Rudy's success with the 
women. As if anyone really knew — excepting Rudy! I don't pre- 
tend to know, but I have views on the subject. 

In the first place, the women aren't in love with Rudy at all, but 
with everything that he stands for — love and romance. From the 
very beginning of our country's history, when the first Priscilla helped 
her John Alden along the uncertain roads of courtship, to the present 
day, when the more aggressive "boy-friend" practically sweeps his 
lady-love off her feet, so to speak, the American women have been 
the soul of romance, living for love, calling for it, ever searching for 

But they are not so fortunate as the women from European coun- 
tries — France, Italy, Spain — whose husbands are lovers even after mar- 
riage. In America, when a man wins his wife and marries her, that 
one part of his job is done. He has told her he loves her, proved it 
by marrying her — what more does she want — what more could she 
want? He doesn't realize — or doesn't he care — that her life is love — 
that she wants always to be loved, and to love. That is where Rudy 
Vallee comes in. 

Calls Rudy the Eternal Lover 

He is the eternal lover — and the little boy at the same time. He 
loves — and is loved copiously by these women. Always breathing 
romance, singing the praises of love, enrapturing his phantom sweet- 
heart with his ardent whisperings, and at the same time yearning for 
his own dream girl — he makes the women believe that each one is 
the only one — that she alone is his beloved. To the young girl he 
is the personification of her ideal — tall, handsome, blond, strong and 
tender — her dream lover come to life, with the sweetest voice in the 
world and the heart of gold — come to find her. 

To the flapper, he is the antithesis of her modern jazz-mad "boy- 
friend." He is everything that is quiet, modest, sweet, charming and 

But to them all he is the same — a romantic figure, unapproachable, 
distant, indifferent to their worship — always foreign, yet all the more 
lovable for it. He is beloved of them all. And he doesn't seem to care 
— except that he is giving them happiness, and is glad of it. 

Again, I say, it is not the real, every-day commonplace Rudy that 
his friends know and love for himself, with whom the women are in 
love, but the atmosphere with which he has surrounded himself. And 
until that atmosphere disappears; until the American man warms up 
a bit — which is doubtful; until the American woman becomes cold 
to love — which is not only doubtful, but equally impossible; and until 
Rudy loses his voice — or, which is worse, becomes married and loses 
his romance — (for he is only human, after all) — until then, Rudy 
Vallee will continue to be a success with the ladies, and his success a 
mystery to the men. — Catherine Oest, Yonkers, N. Y. 

New Women's Hour Series on CBS 

The greatest institution of service for women yet fur- 
nished by radio is now offered by the Columbia Broad- 
casting System, in conjunction with the National Radio 
Homemakers Club, of which Ida Bailey Allen is president. 
According to Ida Bailey Allen, under whose supervision the 
new series will be conducted, a real women's magazine 
of the air has been established, in which all matters of 
interest to housewives are treated completely in depart- 
mentalized broadcasts. Furthermore, the various subjects 
are balanced in such a manner that no one will receive 
more attention than another. 

The plan, as it has now been completely developed, 
entails the broadcasting of two hours daily, excepting 
Saturdays and Sundays, on subjects of interest to women. 
The hours between 10 A. M. and 12 noon, eastern standard 
time, have been selected as the most effective to reach the 
audience most interested in the material to be presented. 
This constitutes a new record in the matter of actual time 
devoted daily and continuously by any network to broad- 
cast for an exclusively feminine audience. 

and Best Wishes 
r 1 



Do a 

Good Turn 
For a Friend 

If you know somebody who is an 
ardent radio fan and is interested in 
what is on the air, why not send him a 
year's subscription to Radio Revue 
with your compliments? 

Or, if there is some one "back home" 
who would like to know more about 
how broadcasting is done and who 
does it, just fill in the blank below and 
send it to us. We will do the rest. 

One Year, $2.00; Two Years, $3.00 

Six Harrison Street 
New York, N. Y. 

Gentlemen : 

Please enter my subscription to RADIO REVUE 

for ......... years. I enclose Dollars in 

cash, check, currency to cover. 


Street Number 

P. O. 


1929 Greatest Year in the History of Radio 

{Continued from page 9) 

near Cincinnati were covered from an airplane, and a 
little later a demonstration of refueling in mid-air over 
New York was also covered from a plane. May 1 8 brought 
the famous Kentucky Derby. The Fort Worth endurance 
fliers made their record in the same month, which finished 
with the radio opera premiere and the Indianapolis Speed- 
way 5 00-mile auto race. 

Early in June we broadcast a flying memorial service to 
aviators who had lost their lives in attempting to fly the 
Atlantic, and in the same month we presented from Old 
Orchard Beach the take-off of Roger Williams and Lewis 
Yancy, who made it. We also had the Harvard-Yale boat 
race, the Poughkeepsie regatta and the broadcast from un- 
der Niagara Falls. 

July was marked by three events in the world of avia- 
tion: Williams and Yancy were given New York City's 
official welcome on their return to the United States, and 
the stories of two more endurance flights, those of Mendell 
and Reinhart and Mitchell and Newcombe, were broad- 
cast. The same month also brought the Thanksgiving 
service from London. 

A parachute jumper broadcast his sensations as he was 
falling through the air on August 12, and much of the 
rest of the month the world was watching the goings and 
comings of the Graf Zeppelin. The ship arrived in Lake- 
hurst from Germany on August 4 and returned at the 
end of its around-the-world flight on August 29, and in 
the interim every movement was covered by press asso- 
ciation bulletins and reporters stationed on both coasts. 

Gloria Swanson sang from London for an American 
audience on September 5, and two days later we rebroad- 
cast the Schneider cup races. Sergeant Alvin C. York, 
the World War hero, returned to the public eye by way of 
the microphone and Sir Harry Lauder used the microphone 
for the first time to keep in the public eye. 

In October Jack Dempsey went on the air during the 
Fields-Dundee match in Chicago, the World's Series opened, 
and Premier J. Ramsey MacDonald arrived from England 
to talk peace with President Hoover. A Canadian station 
was added to the NBC network to present the Premier's 
addresses. Leopold Stokowski began his broadcasts, Walter 
Damrosch came back to the air with his programs for 
schools, the Light's Golden Jubilee program presented Al- 
bert Einstein from Germany and President Hocver, Thomas 
A. Edison and Henry Ford from Dearborn, the football 
season opened and a Holland program was rebroadcast. 

October and November brought the New York City 
mayoralty campaign to the microphone, and early in the 
latter month Mayor Walker, who had spoken half a dozen 
times earlier in the year, welcomed the Russian fliers to 
the city. The Chicago Civic Opera programs opened 
with the dedication of a new opera house, President Hoover 
made his Armistice Day address from Arlington Ceme- 
tery; a Puccini opera was broadcast for the first time in the 
United States, and John McCormack came back to the air. 

Early December brought Secretary Mellon, an abstract 
of President Hoover's message to the new Congress, and 
President Hoover's address to the members of the per- 
manent business conference. Leaders in the Governmental 
and financial worlds also came to the microphone in a 
series of talks on economic subjects. 

What!! a laxative 

for loveluieA^ r 




IT may seem strange to you — bring- 
ing this word "laxative" into a dis- 
cussion of beauty! And — what, pray, 
has a laxative to do with creams and 
lotions, with fair complexions and 
young and supple skins? 

It has a great deal to do with them ! 
It is almost all- important! For, unless 
you keep clean internally, your skin is 
bound to suffer, and will always lack 
the clear, fresh bloom which every 
woman wants ! 

Those tiny blemishes which baffle 
the cleverest cosmetics can be defeated by 
Sal Hepatica! Women who know the 
saline method, who use salines as the 

family laxative, know how quickly they 
purify the bloodstream and bring new 
color and translucence to the cheek. 

In Europe, the wonderful saline 
springs have for years been thronged 
with men and women sent there by 
their physicians to drink the saline 
waters for the sake of their complexions 
and their health. 

Oal Hepatica is the American equiva- 
lent of these saline springs. It rids the 
body of poisons and acidities. That is 
why its use is a great relief for head- 
aches, colds, rheumatism, auto-intoxi- 
cation, constipation, indigestion, com- 

plexion disorders and many other ills. 

Sal Hepatica, taken before breakfast, 
is speedy in its action. Rarely, indeed, 
does it fail to act within thirty minutes. 

Get a bottle today. Whenever con- 
stipation threatens your complexion 
with blemishes and "broken out" spots, 
take Sal Hepatica. And send now the 
coupon for the booklet which tells in 
detail how Sal Hepatica keeps your skin 
fresh and free from blemishes and how 
it relieves many common family ills. 

Sristol -Myers Co.,Dept.RR-l 29,71 West St.,N.Y. 
Kindly send me the Free Booklet that explains 
more fully the many benefits of Sal Hepatica. 

$al |-]epatica 





S tarks Golden Delicious 



"The Man Who 

Made All New York 

Bite On 




Tested by 1,000,000 people in the Pennsylvania Railroad 
Station. If you want a sample of tbis delicious fruit, write to 

— And you can't find a New 
Yorker "in a carload" who 
"gagged" on his slice of these 
wonderful yellow apples. 

Joe is going to have many 
more trainloads of these mouth- 
watering apples this Winter. 
Help him move them as well as 
help yourself to the finest apple 
that ever grew, by demanding 
Golden Delicious of fruit deal- 
ers wherever you go. 

Golden Delicious is the new 
yellow apple of Supreme size 
and Superior flavor and zest 
that was discovered and intro- 
duced by 

Stark Bro's Nurseries 



JOSEPH SICKER & rO ; 204 Franklin St., New York for Over 113 Years 



r mm 


In This Issue: 

Norman Brokenshire 

Jessica Dragonette 

Graham McNamee 

Andy Sannella 

Nit Wit Hour 

Mary and Bob 

1 Phil Cook 

Other' Features 


from the Studios of 

Donald McGill 



American Opera Company 




33 West 67th Street 
New York 

Telephone: Trafalgar 8063 

Adele Vasa 

Coloratura Soprano 
American Opera Company 

Brownie Peebles 


Canadian National 



American Opera Company 

Mary Silveira 
Lyric Coloratura Soprano 

American Opera Company 

FEB ^ m ° 

©C1B 60264 



Volume I Number 3 February, 1930 


On the Cover: Norman Brokenshire By Gaspano Ricca 

Jessica Dragonette (Photograph) 2 

What Light Opera Role Do I Love Most to Play? By Jessica Dragonette 3 

The Muscular Diva : By Clifford McBride 6 

What Price Announcing! By Norman Brokenshire 7 

Andy Sannella — a Real Miracle Man of Music By Herbert Devins 10 

Andy Sannella By Gaspano Ricca 1 1 

Have You a Little Nit Wit in Your Home? By William Schudt, Jr. 13 

Taught Self to Play Banjo — Roy Smeck Now Teaches Thousands, By Dai id Casein 16 

McNamee "a Great Guy," Oscar Writes His Girl Friend, Margy 

By P. H. W. Dixon 17 

"Quaker Girl" Starred on Broadway (Photograph) 19 

Rector Again Points Way to Epicurean Delights By Florence Smith Vincent 20 

Radio's One-Man Show, Phil Cook, Is Marvel of Versatility, By Gene Mulholland 21 

Mary and Bob Start Their Third Year of Air Wandering By Jeanctte Barnes 23 

One of the Immortals By Martha Beattie 24 

A Case for Television (Photographs) 2 5 

Majestic Hour Experiment Portends New Era in Conducting By Bruce Gray 26 

An Open Letter to Mr. Average Fan from Mrs. Upstate Listener 28 

Static from the Studios 30 

New Meteor Flashes Across "Blue Heaven" By Walter Preston 3 1 

Ether Etchings 3 2 

Editorials 34 

Challenging the Grownups (Photographs) 3 6 

Program Notes 37 

Enrique Madriguera, Master of Jazz and the Classics 3 8 

Listeners' Forum 3 9 

Radio in the Home (Edited by Mrs. Julian Heath) 40 

The Announcer Speaks for Himself: Marley Sherris 42 

The Big Ten — Best Selling Popular Songs of the Month 44 

A Typical Radio Week By Joyce Sears 44 

The Itinerant Listener — "He Tunes In and Reports at Random" 46 

Bruce Gray, Editor 

Contributing Editors: 

Allen Haglund H. Raymond Preston 

Mrs. Julian Heath Walter H. Preston 

Willie Perceval-Monger K. Trenholm 

Published monthly by RADIO REVUE, INC., Six Harrison Street, New York. N. Y.. Telephone: Walker 2677-2678: Uptown Office: 
Room 1215, Hotel Knickerbocker. 120 West 45th Street. New York, N. Y.. H. Raymond Preston, President: Benjamin F. Rowland, 
Vice- President; Walter H. Preston, Secretary and Treasurer ; George Q. Burkett. Advertising Manager. Manuscripts and photo- 
graphs submitted for publication must be accompanied by sufficient postage if their return is desired. Advertising rates will be 
gladly furnished upon application. Second Class Entry Pendng at Post Office. New York. N. Y. Copyright, 1930, by Radio Revue, 

Inc. All rights reserved. Printed in U. S. A. 

Subscription Prices: United States, $2; Canada, $2.50; Foreign, $3; Single Copies, 25c 


Jessica Dragonette 

NBC Soprano as Nadina Popoff in "The Chocolate Soldier" 
Composing a Letter to Lieutenant Bumerli 

F EBRU ARY , 19 3 

what Light Opera Role 

Do I hove Most 

to Play ? 

Frankly, says the 
dainty NBC prima 
donna, it is difficult 
to single out any one, 
since each character 
has its own particu- 
lar hire and fascina- 

Having played sixty- 
five roles over a per- 
iod of two and a half 
years, the erstwhile 
leading lady of the 
Phil co Hour, NBC, 
attempts to analyze 
the best known char- 
acters and discover a 


WHAT character do I love most to play? I have 
been asked that question so many times! Frankly, 
it is difficult to single out any one, since each 
character has its own particular lure and fascination. 
While I am playing Fiji in Mile. Modiste, for instance, I 
think she is my favorite; or, again, if it is Sylvia in Sweet- 
hearts, I am sure she is — and so it goes with all the light 
opera personalities I portray. 

As far back as I can remember I have loved to imper- 
sonate people. As a child, I was permitted to go to the 
theatre once a year — that was on my birthday! That 
day stood out as a notable day indeed. I was passionately 

fond of the theatre. For weeks afterwards I would act 
the entire play for my playmates, taking all the parts my- 
self. What was a childish game has grown into a de- 
lightful and absorbing occupation. 

Character-study is of all studies the most intriguing 
to me. In the subway, on the street, in the theatre, the 
market place, at tea, in department stores, in restaurants 
— wherever people are — I find myself absorbed with 
countless mannerisms and iodiosyncrasies that go to make 
up characterizations. The way people walk, talk, act; 
the way they use their hands, all these things interest me. 
These bits of life that I have from time to time observed 


are tucked away in 
the pigeon-holes of 
my mind and un- 
c o n s ciously find 
their way into the 
building of a 

Must Know 
Proper Walk 

"But why", you 
may ask, "must 
you know how a 
character walks in 
order to play her 
over the radio?" 
Oh, but I must 
know! The walk 
sets the tempo of 
the scene. Long 
before my en- 
trance in Mile. 
Modiste, for exam- 
ple, I was walking 
up and down in 
the studio, looking 
back to see if the 
gentleman was still 
follow ing me. 
Otherwise, I could 
never have given a 
true picture of 
Fiji, out of breath 
and expectant, during the scene with Hiram Bent. 

Do you remember the scene 
between Barbara and the two 
soldier-deserters in My Mary- 
land? Barbara cajoles the men 
with a song about "Old John 
Barleycorn" and gets them 
intoxicated. She knows they 
intend to kill her lover, Cap- 
tain Trumbull, when he passes 
the house where they are bar- 
ricaded. Barbara shoots one 
of the men just as he is aim- 
ing to kill Trumbull. She has 
saved her lover, she knows, 
but the strain of the situation 
has made her hysterical. She 
alternately laughs and cries. I 
was truly weeping in the cli- 
max of this scene, but the 
crescendo began with the ca- 
joling of the two men. 

Before I do a scene, I ask 
myself certain questions: 
Where is my character com- 
ing from? Where is she go- 
ing? What has she been do- 
ing? Whom has she seen? 
This helps me to play the 
scene in the right mood and 
proper atmosphere. 

As Marietta, in "Naughty Marietta" 

Leaving by Aeroplane to Fill a Concert Engage- 
ment in Baltimore. Left to Right: Robert Simmons, 
tenor; Jessica; Kathleen Stewart, pianiste, and H. P. 
di Lima, NBC Representative. 

Fusion of Music and Drama 

In light opera, there is, of course, the two-fold inter- 
pretation, the musical as well as the dramatic. They are 
so completely united, however, that it is difficult to divorce 
one from the other. Rather the one enhances the other. 
For example, Arms and the Man, by George Bernard Shaw, 
is complete drama. In The Chocolate Soldier the drama 
is heightened a hundredfold by Oscar Straus's music. 

I shall never forget the first character I created in light 
opera over the air. It was The Merry Widow, which I 
have since played several times. I had never done any- 
thing like it before and all sorts of difficulties loomed up 
— principally the fact that I was playing Sonia to Mr. 
Donald Brian's Danilo. He had created Prince Danilo 
some twenty years before. How was he going to be recon- 
ciled to me! I was so 1927! Suddenly I thought Merry 
Widow and gradually I felt her personality descending 
upon me. I was no longer myself — in fact, I was left far 
behind, still wondering, while another I, as Sonia, joyfully 
sang The Merry Widow! 

Of course, one naturally likes best the character one 
admires most or finds most appealing. The tastes and 
sympathies of my audience are varied and definitely selec- 
tive. Everyone does not like Zorika in Gypsy Love. Yet 
someone else prefers the dark, romantic girl far beyond 
the quaint and prim Prudence of The Quaker Girl. It is 
only by loving all my characters that I can understand 
their varied personalities. 

Radio Enables True Portrayal 

Some times an actress on the stage cannot play a cer- 
r.ji". character because of too great physical differences. 
This fact has made for "type"-casting, which is discussed 

. so frequently in the theatre. 
Radio, of course, removes 
this handicap. Since the es- 
sence of personality is mental 
and emotional, the radio ac- 
tress who can project with 
mind and spirit the potent 
qualities of her role gives, per- 
haps, a truer portrayal than 
does the actress on the stage 
who merely "looks" the part. 
All this is not as difficult 
to arrive at as it would appear. 
With certain basic principles 
set down, characterization be- 
comes a matter rather of com- 
bination. First of all, a char- 
acter must be universal in 
soul. Then whatever exter- 
nal qualities are added must 
be inevitable, potent and sure. 
Weave through this human 
being, in varying combina- 
tions, charm, caprice, subtlety, 
lovableness, gayety, mischief, 
generosity, wit, courage, gal- 
lantry, or naivete; add to these 
qualifications situations like 
poverty, riches, loneliness, 
boredom, ambition, and you 

F EBRU ARY , 19 3 

have material for a thousand characterizations. 

But still you ask: "What character do you love most to 
play?" Let me see — I have played some sixty-five roles 
over a period of two and a half years. Perhaps if I re- 
view some of them I may discover preferences. 

Marietta, in Naughty Marietta is dear to me because 
of her mischievous fiery Italian temperament. Her moods 
are as scintillating as the stars. She is April, laughing 
one moment and weeping the next. Her personality is 
all bright darts until, slowly and like a flower unfolding, 
you see her romantic nature bloom. 

Cannot Part With Angele 

Angele, in The Count of Luxembourg, is very different. 
She is French and her flashes of personality contrast 
markedly with the little Italian girl. Angele is taller and 
more beautiful. Besides, Marietta has a title and Angele 
is- marrying for one, so . . . being an actress her charm 
is heightened ten times. She is graceful, poised, gay and 
subtle. She has humor, too — and a certain good sports- 
manship which she adequately displays in her beautiful 
opening aria "Love, Good-Bye!" No, no, I cannot part 
with Angele! 

Do you remember O Mimosa San, the dainty fluttering 
little creature in The Geisha? And Kafhie, the blonde, 
vital, laughing barmaid in The Student Prince? From 
her first rippling laugh in the first act to her "Good-bye 
Heidelberg" tears in the last, I love her. 

Then there are Babette, Zoradie in The Rose of Algeria, 
Gretchen and Tina in The Red Mill; Elaine in The Debu- 
tante; Mary and Jane in The Babes in Toyland; Vivien in 
The Enchantress; Greta in The Singing Girl; Irma in The 
Fortune-Tcller, Seraphina in The Madcap Dutchess; Eileen 
and Rosie Flynn in Eileen — all of these are beloved Vic- 
tor Herbert roles — Flora and 
Janet, so sweet and heathery 
in de Koven's Rob Roy; An- 
itza, thoroughly Americanized 
by George Cohan, in The 
Royal Vagabond. 

Princess Pat, a girl to dream 
about, poured forth her ro- 
mantic soul in some of Her- 
bert's loveliest music, "Love 
is the Best of All"; "All for 
You," and "I Need Affection, 
oh, so Much!" 

Ottilie of the Mauve 

Ottilie, in Maytime is Amer- 
ican, quaint and of the mauve 
decade. She is the girl who 
tells her lover in the first act 
"Your arm is like a pump- 
handle, — there's no cuddle to 
it!" This same girl grows 
older and older throughout 
the play, until she finally ap- 
pears as a grandmother. 

Throughout the whole time 
and space of the play she has 
never forgotten the words of 

"Uncle Bob" Sherwood, last of Barnum's Clowns, 

Congratulates Jessica on her recent Debut as exclusive 

Soloist on the Cities Service Hour, NBC. Conductor 

Rosario Bourdon seconds the Motion. 

her lover, and they 
echo from genera- 
tion to generation 
"To life's last 
faint ember, will 
you reme m b e r? 
Springtime! Love- 
time! May!" 

I could go on 
and enumerate still 
more characters, 
all dear to me. 
They pass the 
horizon of my 
memory like de- 
lightful dreams 
each leaving a fa- 
miliar footfall. 

The business of 
the artist, whether 
she be singer or 
actress, is to trans- 
f e r feeling. A 
great many people 
think that, if an 
actress is to por- 
tray anger, she 
must do it with 
contorted face, 
clenched fists 
shouting and arm- 
waving. Yet we 
readily admit that 
in real life the 

greatest emotion is expressed with the least vehemence. 

We read that Wendell Phil- 
lips (who probably had a 
greater effect upon his audi- 
ences than any other orator 
of any age) seldom made a 
gesture and seldom raised his 
voice. On what, then, did his 
success depend? I believe, in 
his ability to project feeling, 
which at once becomes the 
absorbing problem of the ra- 
dio artist. 

Must Transfer Feelings to 

The dramatist or musician 
has woven certain feelings 
into character, incident, scene 
or story. When these feel- 
ings in their utmost power 
have been transferred by the 
artist to the listener, so that 
he, too, is infected with them, 
the cycle of art is complete. 

Which role do I love most 
to play? I really cannot name 
any one. I love them all — 
but principally the one I hap- 
pen to be playing. 

As Fifi, in "Mile. Modiste.' 


The Muscular Diva 

By Clifford McBride 

Courtesy of the McNaught Syndicate. 

F EBRU AR Y , 19 3 

What Price 



Why is it that those "old 
timers," who have become 
real personalities to thou- 
sands of listeners tlyrough 
their announcing since the 
beginning of radio, are 
now heard so seldom} 

Let those who have list- 
ened to radio consistently 
recall the names of an- 
nouncers who began seven, 
six or even five years ago 
— where are the owners of 
those names now? 


THE announcer is dead! Long live the announcer! 
Why is it that the better a radio announcer becomes, 
the less he is heard? Why is it that those "old tim- 
ers," who have become real personalities to thousands of 
listeners through their announcing since the beginning of 
radio, are now heard so seldom? These and numerous 
other questions of similar nature come to me so often that 
I ani sure a true story of the evolution of the art of an- 
nouncing, and an unvarnished picture of the announcer 
is due the listener. 

Seven years is a long time to spend in any type of work. 
Especially is this true when those seven years are spent 
with an infant industry, and my seven years in radio an- 
nouncing constitute the years of growth. If a boy, seven 
years ago began as an office clerk and attended diligently 
to his duties, he would now be a proud assistant to the 
office manager, if not the manager himself. Let a youth 

go into apprenticeship, seven years later will find him an 
expert. I know personally a young man who took a place 
as an usher in one of the largest theatres in New York City 
—five years later he was house manager over two hundred 
employes. And so it goes in all the ordinary walks of life, 
but not so in this new industry. 

Let those who have listened to radio consistently recall 
the names of announcers who began seven, six, or even 
five years ago — where are the owners of those names now? 
If they turned out to be good announcers, they are still 
announcing; if not, they have fallen by the old familiar 

What Has Happened in Announcing? 

A fellow does not have to believe in the Darwin theory 
to know that progress is inevitable. At least, individuals 



do not stand still; 
they either ad- 
vance or retro- 
grade. So, let us 
look into this 
matter thorough- 
ly and see what 
has happened to 
the art of an- 
nouncing — a very 
important and vi- 
tal part in broad- 

We must, first 
of all, remember 
that broadcast- 
ing, when it be- 
gan, was not at 
a 1 1 commercial. 

Time was not sold and artists were not paid 
was a novelty that brought certain attentio 
those who owned the station and those w 
entertained. In the case of the larger com- 
panies who broadcast, it was a matter of 
experimentation to see what could be 
developed in this new field of commu- 
nication. Even then it was realized 
that a complicated organization was 

There was a great divide between 
the business and artistic sides. Who 
should be chosen to manage a broad- 
casting station? A business sense 
was necessary, for the expenses were 
large. An artistic sense was necessary, 
for there were programs to be con- 
structed and presented. A mechanical . 
sense was necessary, for broadcasting was 
an intricate process. Unlike other organi- 
zations, it was not a step by step building, 
wherein one position led to and trained for 
next, but it was one of complete contrasts. 

The operating staff was essential, of 
course. Then came the managerial staff, 
and then the compromise — the announcer 
who was the go-between. He it was who 
found out what the manager wanted in 
the way of talent, and then used his con- 
nections to invite the proper artist to 
participate at the proper times. He it 
was who found out just what the oper- 
ators wanted by way of placement and 
arranged with his artists to stand just so 
and sing or play just so. He it was who, 
by means of letters from the listeners, 
found out what the public wanted and 
how they wanted what they wanted an- 

The Program of the Early Days 

And so it is evident that there were 
many sides to the work of announcing 
in the early days that were not realized 
by the listeners. I recall very distinctly 

Introducing Jack Dempsey over the CBS. 

At Atlantic City in 1925, Nor- 
man chose this Beauty as "Miss 

The Reading Railroad Revelers, an early WJZ Feature, 
obtain Local Color. Left to right: Bob Newton, Herb 
Glover, Elliot Shaw, Ed Smalle, Norman, Wilfred Glenn 

the execution of a program then. 

When the announcer came on duty, he 
would look about to see who of his invited 
guests had come. Then, with pencil and 
paper he would visit with each one or group 
and find out what music they had with 
them. With these notations in hand, he 
would hastily balance the program and then 
put them "on the air". He had to see that 
the artists began on time and finished on 
time. He placed them for balance, he 
cheered them and gave them courage, if 
they were nervous before the "mike". He 
made the necessary apologies when an artist 
broke down or delayed because of lost music, 
he filled in the time necessary to repair a 
broken string on a harp or a violin, sadly 
out of tune. While one program was on its 
last selection, he was busy in the reception 
room building the next. And so it was through 
hours, as many as fifteen hours a day. 
Whether it was a Bach concerto or a report 
of the produce market, a dance orchestra, 
or an "in memoriam", the announcer 
had to fill the bill. There were also 
many out-of-studio assignments, ban- 
quets, night clubs, celebrations, res- 
taurants, lectures and jubilees. In these 
places the announcer was also entire- 
ly responsible for seeing that things 
went smoothly and were completely 

How a Program Is Staged Now 

But, how times have changed ! To- 
day, a program, whether commercial 
or sustaining, is made up three weeks 
or more in advance, artists are carefully 
losen by means of auditions, wherein 
v compete with dozens of others. When 
ly cast, the program is rehearsed and 
timed to within split seconds of the 
time allotted. 

When the day of the program comes, 
a page in uni- 
form or a hos- 
tess directs the 
artist to one 
of a maze of 
studios where he 
or she is greeted 
by the director 
and production 
man. The an- 
nouncer is given 
a script and the 
"dress r e hear- 
sal" begins. The 
script that the 
announcer will 
read is the prod- 
uct of a con- 
tinuity depart- 
ment, whose 
business it is to 

F EB RU ARY , 19 3 

turn out all the sustaining programs and a 
majority of the "commercials". 

A signal from the central control man to 
the operator handling the program is re- 
layed to the assembled and rehearsed artists 
bv the production man. He in turn signals 
the announcer who reads the opening an- 
nouncement and advertising data. The pro- 
gram has begun. Throughout the entire 
offering, the production man watches the 
placement and time, the program director 
watches the cues for each artist or reader, 
(also the announcer), the operator watches 
the gain control, a page or porter guards 
the door and a hostess-pianist stands by to 
fill in, should anything unforeseen happen 
to break the flow of the elaborately prepared 

Oh, yes, there has been evolution in an- 
nouncing, but at what a price to the profession 
True, the really proficient announcer of the old 
days still announces, for to him it is an art. 
Through his art, he has experienced the 
romance of the growth of a gigantic in- 
dustry, he has thrilled with the adventure 
of new achievements, broadcasting first 
from the studio alone, then from re- 
mote points, then from airplanes in 
flight, and now from a dozen places 
at once. There have been many 
thrills and, through fan mail, he has 
had a concrete form of apprecia- 

Many Thrills in Announcing 

Can't you stretch your imagination 
and appreciate the thrill that came to 
me when I stood on the Capitol steps on 
March 4, 1925, with waiting millions de- 
pendent upon me for a description of the 
excitement during the Coolidge Inau- 
guration, and when, unaided, I carried 
the radio end of the historic event for 
over three 


'Red" Grange over the CBS. 

Norman working with George 

Olsen and his band at WJZ in 


hours! Can't 
you sense the 
quickened pulse, 
when at Mit- 
chell Field I 
stood inthe 
stand, micro- 
phone in hand, 
and, together 
with the Prince 
of Wales, the 
Governor of the 
State and the 
Mayor of the 
city of New 
York, awaited 
the return of 
the 'round-the- 
world flyers? 
Imagine the 

A typical Brokenshire Production in Radio uas the Kan- 
sas Frollickers. Here are "Brother" Macy and "Brother" 
Brokenshire as the "Mirth Quakers." 

tenseness that was 
mine on Labor 
Day, 1924, as, 
"mike" in one 
hand, field glasses 
in the other, I 
announced the 
very first horse 
race to go on the 
air, the Zev-Epi- 
nard race at Bel- 
mont Park Track. 
Can you blame 
me for asking 
Will Rogers to 
autograph m y 
card as I sat be- 
side him in the 
speakers' stand at 
the first Democratic National Convention to be 
broadcast? When the resolution was passed to 
hold the First Joint Session of the Senate and 
the House of Representatives of the United 
States to hold memorial services in honor 
of Woodrow Wilson in the hall of the 
House of Representatives on December 
15, 1924, can't you feel the pride that 
came to me as I was chosen to carry 
the first microphone into the sacred 
precincts of the hall of the House of 
Representatives and to officiate at 
the services for the listening radio 
Can you feel with me the solem- 
nity of the occasion when, as one of a 
group of mourners in the nation's Cap- 
itol, I was called upon to broadcast the 
services that put to rest our greatest 
orator, William Jennings Bryan? And 
then to be the first to enter the sanctum 
of Herbert Hoover, in the Department of 
Commerce Building, while he was Secretary of 
Commerce, to place the microphone on 
his desk so that he might speak to the 
nation regarding the newly-appointed 
Radio Commission. 

Arrival of the Graf Zeppelin 

And so it went through the years, un- 
til last August it was my privilege to 
board the special plane to meet the Graf 
Zeppelin on its world-famed flight from 
Germany and to report not only over 
the air but through the Associated 
Press, the greetings of Dr. Hugo Eck- 
ner and the story of the Zeppelin's ar- 

Surely you can easily sense the pride 
with which we veteran announcers look 
upon our profession. And the sorrow 
that comes to us as we find that we can 
no longer stay with the organizations 
with which we grew, for such is really 
(Continued on page 48) 



Andy Sannella 

A Real 

A BUNCH of the boys were whooping it up — but 
Dan McGrew wasn't there. For this was not the 
old Malemute of storied fame, but the American 
Hotel in Panama City. The merrymakers were a group of 
tars from the Destroyer "Farragut." The armistice had 
just been signed. The boys knew they would soon be dis- 
charged and so it was easy to get shore leave. 

The good-looking "gringo", who seemed to lead his 
mates, was fascinated by the motley orchestra. Without a 
word, he took the violin from the loose fingers of one 

"Lookut Andy! He thinks yuh play 'em like his guitar 
aboard ship. Hot dawg! Watch this — " 

The sailors not only watched, they began to listen. So 
did everyone else in the saloon. Natives and Americanos 
alike formed a spell-bound circle around the soloist. Not 
even his shipmates had suspected that Andy Sannella had 
once been a concert violinist. He was all prepared to 
invade Europe at the age of fourteen, but his father died 
and he lost interest. This was the first time he had touched 
one since. His guitar? Just a fancy, to liven up the 

But this was real — a breath from another world in this 
little hotel in Panama City. When the sailor returned the 
battered fiddle to its owner, the latter stared at it help- 
lessly. But the manager sputtered in broken Spanish and 



of Music 


with many gestures made it plain that he wanted the sailor 
to stay and play at his hotel in uniform during the re- 
maining four days of carnival week. This celebration 
was held in honor of the service men and, while it lasted, 
they had the freedom of the city. 

Offered Job for Four Days 

Andy grinned. That was real success, an offer of steady 
work — even though it was only for four days. He looked 
at his gang. They all howled with glee. But, after all, 
why not? Acting on impulse, Sannella accepted — just 
for the lark. But he had to obtain permission from Rear 
Admiral Johnson to carry it through. The officer saw the 
joke and consented. 

By the time his four-day engagement had ended, Andy 
had gotten the fever. There was no more work to be had 
just then at the American Hotel, but he learned that a 
pianist was wanted at the Silver Dollar Saloon nearby. 
He got the job and, after he had played there for six weeks, 
the owner of the American Hotel re-engaged him in charge 
of the orchestra. 

The first saxophone Andy Sannella bought, he paid $2 5 
for and his boss offered him $ 5 if he would throw it away. 
This happened only a short time after he had started. He 
had organized an entirely new orchestra, which was be- 
coming famous in the neighboring country. There were 
so many demands for appearances out of town and at near- 
by camps that he seldom could be found at the Hotel. 

On one flying trip he saw the saxophone in a music 
store window. With customary abruptness he went inside 

FEBRU ARY , 19 3 


Andy Sannelh, the Miracle Man of Music 



and bought it, for $25. From that time on he spent all 
his spare time practicing, at first just to get any sound 
at all, and then to sweeten the tone. 

Before he had established friendly relations with the 
instrument, his boss complained. "So you don' lose money, 
I pay feefty dollair for heem. Then you see customers 
come back. - ' Andy decided he had been insulted, he re- 
fused to bz comforted and went home to New York. 

Perfects "Sax" Technic 

After visiting his family, he returned to Panama City, 
taking with him a pianist from the United States. During 
his visit to his home, he had done a great deal of practicing 
on the saxophone, and had become proficient enough on 
the instrument to alter the boss's views. So from then on 
he continued to perfect his saxophone technic. Today 
the nation's youths are practicing saxophone in secret, 
studying the famous "Andy Sannella Method." 

In 1922 Andy returned to the United States seeking an 
engagement. He did 
not know a soul in 
the music business in 
New York. He wan- 
dered around for 
months before he 
finally secured a 
chance to play in a 
cabaret in Brooklyn. 
There he played saxo- 
phone in the dance 
band and violin for 
the show in the cab- 
aret. After playing 
on this obscure en- 
gagement for about 
three months, he was 
asked to play an en- 
gagement at the Van- Aniy and the Collection 
derbilt home on Fifth 

Avenue, with Mr. Mike Markel, who did much of the so- 
ciety orchestra work in New York at that time. The oppor- 
tunity to play with a very well-known leader delighted him 
and soon after he became Markel's principal saxophonist. 

After a year and a half with the Markel Orchestra, 
playing in some of the most exclusive homes and clubs in 
New York and vicinity, Andy accepted an engagement at 
"Castles by the Sea" at Long Beach, Long Island. Later 
he toured the country with Ray Miller's Orchestra. Dur- 
ing this time he became rather well known and later was 
offered several steady engagements. However, in the in- 
terim he had also become known to the recording depart- 
ments of the various phonograph companies and decided 
to be a "free lance" and to devote the majority of his 
time to recording. 

Services in Great Demand 

Today, Andy's services are in great demand in New 
York. When the most prominent leaders have exception- 
ally important recording engagements with special num- 
bers, he is often engaged as the lead saxophonist. How- 
ever, this is not the main source of his income. The 
voice of his saxophone is heard by millions each week over 
the radio, as he is the first saxophonist on about 1 5 of the 

more important programs nationally broadcasted from 
New York City. It is said that his weekly income aver- 
ages close to four figures. 

If you listen to the radio often, you have heard his work 
on the saxophone, his fine style, brilliant tone and finished 
performance. The obligatos which Andy broadcasts or 
records almost at a moment's notice and without previous 
preparation are the talk of the popular music world today. 
A short time ago Andy was lying flat on his back at 
home, convalescing from an illness, when he heard the 
strains of a familiar saxophone growing louder and louder. 
He thought the fever had weakened his mind, for the music 
was that of his own saxophone on a record he had made 
for Victor just a short time before. The sound grew 
louder and louder beyond the power of any phonograph. 
It seemed to come from the sky. Convinced that it 
was an hallucination, he investigated anyway. It was a 
stunt plane flying over the housetops with a phonograph 
and powerful amplifier apparatus, "broadcasting" a San- 
nella record. Thus the mystery was solved. 

Andy is a real 
aerial star. Not con- 
tent with broadcast- 
ing several hours a 
night, he spends part 
of every day in his 
own airplane, unless 
weather prevents. It 
was he who organized 
the now-famous "Al- 
batross Club" at 
Roosevelt Field, com- 
posed of noted flyers 
like Paul Whiteman, 
Gene Austin and 
Franklyn Baur. He 
travels back and 
forth bet ween the 
flying field, the broad- 
casting studios and 
the recording laboratories in a speedy Packard roadster. 

of Instruments He Plays 

Has Written Many Numbers 

Although he is one of radio's busiest figures, Andy 
manages to spend some time at his beautiful apartment 
on Riverside Drive, too. His wife is an accomplished 
pianiste. It was for her that he named his first composi- 
tion, a saxophone solo, "Aileen." His other best known 
numbers are "Jack and Jill," "Millicent" and "Saxanella." 
He has written 2 5 other spectacular bits to demonstrate 
the flexibility of the "most maligned instrument." That's 
what Andy calls the saxophone. 

Musicians everywhere know Sannella. They know his 
trick of smooth rehearsal. With a cigarette in one hand 
and baton in the other, his eyes half closed, he never 
misses a movement or tone of even the most remote mem- 
ber of his band. They know his method of coaxing the 
'nth' degree of melody from a saxophone or clarinet, and 
the Sannella knack of getting the best radio results from 
a guitar. 

These same musicians and other associates of Sannella 
know the pleasing personality and good humor the young 
musician radiates while he works. They know there isn't 
(Continued on page 43) 

F EBRU ARY , 19 3 


Have You a Little NlT WlT 

In Your 


NIT WITS", says Bradford Browne, writer and 
producer of this popular radio feature, "are not 
difficult to find — but good Nit Wits! Ah! 
There's where the trouble begins!" 

The Nit Wit Hour, broadcast over WABC and the CBS 
chain every Saturday night, was originally suggested by 
Georgia Backus, of the WABC continuity department. 
She told her idea to Bradford Browne, who, believing it to 
be something unique, set 


G. MailhrJ-KessIe 

Brad ford Br nunc, Chief Nit Wit 

to work on the script im- 

When Bradford finally 
had completed scripts for 
three consecutive hours, 
he began to search for 
the proper characters to 
enact the various roles. 
After interviewing over 
one hundred applicants, 
Bradford was amazed to 
find just the proper char- 
acters in the continuity 
and program depart- 
ments of WABC! And 
so the Nit Wits were or- 

David Ross, genial 
announcer of WABC, 
can do Jewish comedy to 
perfection — he calls it 
"bronchial English" — 
and, as a result, he has 
become a semi-permanent 
member of the cast. 

"Peggy" Young, for- 
merly assistant program 

Meet the Famous Nit Wits. Left to Right they are: Chief Nit Wit 
{Bradford Browne); Lizzie Tivitch, the cooking expert {Yolande 
Langworthy) ; Professor R. U. Musclebound , Physical Culturist 
{Harry Swan); Aphrodite Godiva {Georgia Backus); Eczema 
Succotash, accompanist {Minnie Blauman) ; Patience Bumpstead, 
the interior desecrator {Margaret Young); Madame Mocha de 
Polka, operatic slinger {Lucille Black); and standing in the rear 
is Lord Algernon Ashcart {Chester Miller). 

manager for CBS and now Mrs. Bradford Browne, could do 
little funny pieces on interior decoration. These were 

changed and highly bur- 
lesqued by Mr. Browne. 
The finished product, as 
offered by Miss Young 
on the air, was called 
"Talks on Interior Dese- 
cration with Advice to 
the Lovelorn"' and the 
orator was assigned the 
name of "Patience Bum- 
stead". Peggy was an 
immediate success on the 
air, as her many enthusi- 
astic letters will testify. 

The Sweet Singer of 
Sour Songs 

Lucille Black is ordi- 
narily the CBS staff 
pianiste. However, as 
Browne transforms her 
each Saturday night, she 
becomes Madame Mocha 
De Polka a former mem- 
ber of the Russian Grand 
Opera Company, who is 
known as the "sweet 
singer of sour songs". 



Chester Miller, the announcer, has been assigned a dual 
personality by the Nit Wit director. He plays "Lord Ash- 
cart" and "Congressman Felix O'Beefe", the noisy poli- 

Yolande Langworthy and Georgia Backus, continuity 
writers for the station, are versatile character actresses and 
are usually given different parts every week. Miss Lang- 
worthy always enacts the role of Lizzy Twitch. Miss 
Backus usually assumes the role of Aphrodite Godiva. 

"Yes, We Have No Bananas" is the official theme song 
for the Nit Wit Hours. It is offered in six varieties and 
in thirteen keys. The Nit Wit pianist is Minnie Blauman, 
who in everyday life holds forth in the Artists' Bureau. 

Bradford Browne is master of ceremonies during each 
broadcast. Browne, in addition, gives the official weather 
report by the "Depart- 
ure from Agricul- 
ture", which is usually 
for Twenty-third Street 
at Seventh Avenue and 
the Sahara Desert! 

The Nit Wits take 
their rehearsals very 
seriously, Browne says. 
The hilarious parts and 
funny episodes are all 
gone through with the 
most serious of expres- 
sions on all of their 
faces. "Fun for all and 
all for fun" is the 

As Chief in the 
weekly escapades of the 
Nit Wits, Bradford 
Browne has most of the 
work thrust upon his 
shoulders. It is entirely 
up to him to keep the 

pace of the program balanced. Bradford is a versatile actor, 
a writer and a first class singer and announcer. 

Not Long Ago He Was Floor Walker 

Strange as it may seem, only a short time ago this same 
Bradford Browne was pacing up and down the corridors of 
a Newark department store, performing the regular duties 
of a floor walker. In fact, Bradford's life in itself is an 
interesting story. Let us peep into this background for a 
few minutes. 

Bradford Browne is the brother of Harry Browne, who, 
incidentally, is the writer and producer of "Hank Sim- 
mons's Show Boat'', heard every week over the Columbia 
chain.. Bradford was born in North Adams, Mass., and 
has had a versatile career. 

No doubt the success of the Browne productions can be 
traced to the fact that much time is spent on every script. 
Detail and time mean much to radio productions, Browne 
will tell you. How many hours does Bradford work? 
Usually from about ten o'clock in the morning until mid- 
night, during which time he writes scripts, announces, 
plays parts in his own productions' rehearsals or broad- 
casts, and does his regular work as continuity writer. 

"You have to give them something good on the radio," 
Browne told this writer. "Poor stuff just doesn't go. It 
falls flat and causes your regular listeners to lose faith in 

The Nit Wit Hour in Action 

your acts and tune them out on other nights." That is 
why he spends so much time on the details. If it's a comedy, 
Bradford believes in giving the audience a laugh a minute. 
Failure to do so means suffering the consequences. 

"You haven't got the people in your theatre," he ex- 
plained. "They are out there, scattered everywhere, and 
if you don't 'click', your act is tuned out." Bradford 
laughed. "Just like that," he said, snapping his fingers. 
"They don't care," he continued, "who you are or what 
you might give them later in the program. It's what you're 
giving them every instant that counts and you either give 
them a thrill or a laugh a minute — or you lose two or 
three million listeners." 

Bradford Browne's first attempt at radio drama, "The 
Cellar Knights," was made about four years ago, just after 

he left the department 
store and became affil- 
iated with a Newark 
station. The Cellar 
Knights were so good 
that some months later, 
when Bradford was 
asked to join the staff 
of WABC, then owned 
by A. H. Grebe, the 
officials asked him to 
continue his skit over 
their station. This 
Bradford did and, when 
the Columbia Broad- 
casting System pur- 
chased WABC early in 
1929, the "Cellar 
Knights" skit was im- 
mediately put on the 
nationwide chain. 

It was shortly after 
Columbia had acquired 
WABC that Bradford 
got the idea for the "Nit Wit Hour". Half a dozen scripts 
were prepared and promptly discarded following rehearsals. 
Bradford knew what he wanted but, when the production 
went into rehearsal, it did not sound just right. So he 
started all over again. Finally he hit on the keynote idea. 
The present Nit Wit Hour series is the result. 

The popularity of this highly burlesque hour of enter- 
tainment can best be judged by the fact that, in a recent 
voting contest conducted by the New York Telegram, the 
"Nit Wit Hour" was named among the biggest hours on 
the air in America today. 

Edson Bradford Browne has had an eventful life. He 
was born in North Adams, Mass. His father was the end 
man in a minstrel show. Most of Bradford's relatives are 
musically inclined. A banjo was the inspiration that sent 
Bradford Browne on what was eventually to lead to a 
music-drama life in the business world. 

Studied Law At Georgetown 

Browne never studied music. When he became of age 
to study for his future profession he took up law. He 
studied law at Georgetown University and finally was 
graduated with honors. 

But that is getting ahead of our story. Back in North 
Adams, Bradford plunked away on his banjo. Now and 
then he would play something that sounded different and 

F EBR U ARY , 19 3 


people would sneer and think him funny. 

From the banjo Bradford went to plunking on his 
father's piano. Here is where he first began composing 
original music. His musical ability made him the "life of 
every party" and it was not long before he was in great 

His musical education ended here for a brief time. He 
became "pin" boy in the local bowling alley. Then wander- 
lust gripped him and he went to Washington, and from 
there traveled extensively. 

After the war he worked in 

a department store in Newark, M, 

where he became floorwalker 
. and held a large assortment of 
other jobs in the organization 
over a period of four years. 

This work just didn't appeal 
to Bradford, and he turned to 
his music work again. In 
Newark he teamed up with Al 
Llewelyn, who was later to be- 
come his colleague in the Cel- 
lar Knights act at WABC. 
They sang well together. People 
often said so. They sang so 
well, in fact, that it was not 
long before the duo received 
an invitation from a Newark 
radio station to appear over the 
air. This they did and the re- 
sponse was electric. 

Bradford liked the atmos- 
phere of the radio broadcasting 
station and spent much of his 
spare time there. Finally one 
day his chance came. One of 
the announcers was ill. The 
others, for some reason or 
other, were not present. Per- 
haps young Browne could aid 
them, the studio manager 
thought. Browne jumped at 

the suggestion. He did very ■%$ 

well; in fact, so well that he 

earned himself a job immediately at the station, where he 
became announcer and finally chief continuity director. 
In this latter capacity he turned out many interesting 
dramatizations, which brought much fan mail in the early 
days of radio. 

Takes Position With Station WABC 

Then one day Bradford received an invitation from 
officials of the Atlantic Broadcasting Corporation in New 
York, then operating WABC, WBOQ and other broad- 
casting stations. He was offered a position and he accepted 
it. For a while things went rather quietly at WABC for 
Bradford Browne. He did a great deal of announcing. 

Although he had been at WABC for only a few months, 
Bradford soon was working day and night, preparing sur- 
prises for his radio listeners. He knew that these might not 
get on the air for many months, perhaps not for a year — 
he worked that long on one of his presentations! On the 
other hand, he has written a feature in barely thirty min- 
utes before it was broadcast. Even these hastily prepared 
scripts have met with wide approval in radio fandom. 

Nit Wits Know Their Onions 

AT last, the source of the CBS Nit 
Wit Family's mental discrepancy has 
leaked out. "Brad" Browne, Chief Nit 
Wit, was found, a few days before Christ- 
mas, busily untying a suspicious, bumpy- 
looking package. Surrounding him, tremb- 
ling with an air of expectancy, were the 
remainder of the Nit Wit family. 

The contents revealed a number of aro- 
matic and artistically treated onions, re- 
sembling each of the Nit Wits. With the 
roots for beards and other facial expres- 
sions dexterously touched on with a brush, 
the male Nit Wits immediately recognized 
their likenesses. 

The girls, Lizzie Twitch, Mocha de 
Polka, Aphrodite Godiva and Patience 
Bumpstead evidently didn't know their 
onions, for to each of theirs was tied a 
card designating a brand of perfume. For 
Lizzie, it was "Christmas Bells," for 
Mocha it was "Caron," for Aphrodite it 
was "Djer Kiss," and for Patience "Coty." 

Itching to know from whence this gift 
of frankincense and myrrh came, Pa- 
tience Bumpstead hastily examined the 
wrapper, only to find that "within five 
days" it was to be returned to one of New 
York State's prominent institutions! 

This writer vividly recalls one night when Bradford 
Browne was so busy that he didn't get a chance to write 
his act until one hour before time to put it on the air. 
For thirty minutes he pounded out copy on his typewriter — 
he is an expert typist. For the next thirty minutes he re- 
hearsed his act, in which were featured eight persons, in- 
cluding a vocal quartet. The act was broadcast right on 
time and, to the surprise of all, critics far and wide praised 
this particular dramatization as one of Mr. Browne's out- 
standing achievements. 

Browne has even taken a 
0, crack at rural skits — he collab- 
orated in the "Oshkosh Junc- 
tion" periods, which ran on 

What Bradford Browne's 
scripts look like in print can 
be gleaned from an excerpt 
from one of his "Nit Wit" 
Hours. The following concerns 
the football resume which was 
one of the highlights of the 
Nit Wit broadcasts during the 
last football season. 

Quotation from Browne's 

"And now, ladies and gen- 
tlemen, we bring to you the 
results of some of roastings 
and fryings, not to mention a 
few of the stewings, which oc- 
curred today on various grid- 
irons throughout the country. 
Maybe we're wrong about 
some of these, but you can't 
sue us, because — well, you just 
can't, that's all. Now, let's 
see. In New Haven, that's 
where Yale is located — and 
where John Coolidge does his 
railroading — well, in New 

^ Haven, the Bulldogs — that's 

Yale — started to mess around 
with the Princeton Tigers and, after two hours of frightful 
carnage, the only thing found between the goal posts was 
the referee's wooden whistle and that wouldn't whistle. 
Score — yes and no. 

"Let's see. Over in Pennsylvania — what a time, what a 
time. The laddies from Carnegie Tech, dressed in their 
new kilts, journeyed far over into Philadelphia, where they 
engaged the Pennsylvania Quakers in the good old game 
of toss it, kick it and rush it. Well, the high spot of the 
afternoon was the cheering sections. First, the Carnegie 
Skibos would cry out with a loud voice "hoot mon, hoot 
mon", to which the Quakers would reply "aye, verily, 

"Well, in the third quarter the thees and the thous got 
the ball on their own ten-yard line and, after going into a 
huddle, they executed a line plunge and all the Scotch 
laddies got kilt. That is most of the Scotchmen got kilt. 
Those not kilt were running around getting their breath 
in short pants. Score — same as last year. 

"Well, well, well, another great game was played today. 
{Continued on page 43) 



Taught Self to Play Banjo 

ABOUT a year ago, a stranger came into ¥OR's studio, 
followed by two porters carrying eight instruments. 
From the breast pocket of his coat a harmonica pro- 
truded. He was carrying two press books. 

"Where's the boss of the station?" he asked WOR's In- 
formation Bureau. 

"Have you an appointment?" came the return query. 

"No" was his response. 

"I don't think you will be able to see him then," was 
the rejoinder. 

"Can't I play for somebody else then?' - the newcomer 

Finally he encountered the Press Agent, and insisted on 
showing him his clipping books. They were so lavish in 
their praise that the stranger could not be ignored. 

"It will establish a precedent if I listen, but I'll take the 
chance," said the Press Agent, conducting him to the audi- 
tion room, where the man began "whacking" a banjo in 
spectacular fashion. 

In a moment, work in all departments was disrupted. 
Every one marvelled as he brought forth stirring strains on 
one instrument after another. He got the only AAA rating 
that has been given at auditions and was booked imme- 

The man was Roy Smeck, known on the stage and air as 
"The Wizard of the Strings," and one of radio's stars. 

Could Not Afford Lessons 

There's a very human story back of Mr. Smeck, one that 
antedates his crashing WOR. Mr. Smeck was born in 
Reading, Pennsylvania, and has all the happy-go-lucky 


Now Teaches 


traits of the Pennsylvania Dutch, as well as their desire to 
play some sort of instrument. Parental finances did not 
permit the indulgence in lessons, however. 

Roy left school almost before he got started, and became 
a boss, as he put it — boss of a broom in a shoe factory, 
where his job was to corral leather cuttings into one heap. 
After several months he managed to save enough to buy a 
ukulele and a few phonograph records of that instrument, 
together with a self-instruction book. 

Armed with these, he began a campaign of practice that 
took in even his working hours. A foreman caught him 
one day and, as his opinion of the "uke" was anything but 
enthusiastic, he told Roy that working should never be 
allowed to interfere with his playing. The foreman then 
proceeded to separate Roy from his job. 

Shortly afterward he found a backer and opened a tiny 
music store in Binghamton, New York, where he whiled 
away the time between customers by learning to play from 
records that he had in the store. When he had attained a 
high degree of perfection on the "uke", he took up the 
banjo. Then followed the guitar, steel guitar, harmonica 
and long-neck banjo, which, next to the octochorda (his 
own invention), is his favorite. 

Paul Specht Discovers Him 

One day, while Paul Specht, famous popular orchestra 
director, was playing in Binghamton, he found himself 
without a banjoist. A local musician told him of Smeck. 
An audition proved his worth and Roy "chucked" the store 
to join the organization which was scheduled to open the 
then new Alamac Hotel in New York. 

The ability of the youngster was so marked that Mr. 
Specht had him go out on the floor. His first appearance 
stamped him as a solo artist. Not long after, he went on a 
sixteen-weeks' tour of Keith's Vaudeville Circuit at $600 
a week, and second from the top. 

His playing, according to press notices, was such that he 
should have been the headliner, since he won first place in 
(Continued on page 42) 



As Recorded for Posterity 
By P. H. W. DIXON 

Well, Mary, this letter is going to contain some 
good news. I've been promoted. I'm now working 
permanently on the thirteenth floor of the NBC building, 
having been advanced from the twelfth floor. 

Now, girl friend, please don't think I am trying to be 
funny by saying that moving from the twelfth floor to 
the thirteenth is a promotion. It's really important. 
Nobody but a lot of engineers and continuity writers and 
other hired hands are on the 12 th floor. But on the thir- 
teenth floor they really broadcast and the important people 
come there. And that's how I came to meet Graham 
McNamee and now I can answer all your questions about 

Graham, I mean Mr. Mc- 
Namee, is a great guy. He's 
not bad-looking. No collar 
ad, you know, but I never did 
like those kind anyway. He 
has a swell grin and always has 
time to say "hello" to every- 
body and he tells stories. He 
had a swell one to tell us the 
other day. I'd tell it to you 
only you wouldn't understand 
it, Margy. 

He's about five foot eight 
inches tall and weighs, I guess, 
about 15 5 pounds. He's pretty 
broad-shouldered and would 
make a good half back. He 
moves around pretty fast and 
sticks his head a little forward 

McNAMEE "a Great Guy" 

Writes His Girl Friend 


The Page Boy 

Announcing the Arrival of the Graf Zeppelin 

when he talks and cocks it to one side when he is listening. 
He still has all his hair and is young-looking. I heard him 
say something about reducing, but he doesn't look like he 
needs to much. 

But I was going to tell you how I came to meet Mr. 
McNamee. I was on duty on the thirteenth when a man 
stuck his head out of a door of a little office and called me. 

He Gave Me Figures to Add 

"Can you add?" he asked me. Of course, Margy, I 
didn't tell him that my mathematics were always the 
pride and joy of Yoakum High School, but I said I could 
add. So he gave me a whole string of figures to add up 

and I added them and the 
total was $192.37. 

"That's just ten dollars 
more than I got", he said. 
"Doggone these so-and-so ex- 
pense accounts anyway." But 
it was not until later that I 
learned I had helped Graham 
McNamee out of a tight situa- 

Mr. McNamee doesn't have 
to announce for a living, 
Margy. He is also a baritone 
and can make almost as much 
money singing songs as by de- 
scribing a world's series. But, 
shucks, the woods are full of 
baritones, so you ought to be 
glad he's decided to keep on 



When he finally Found the Fish, the studio could not be 
used for five days 

announcing. I would hate to have some of the baritones 
we have around here describe a baseball game. Anyway, 
some of them can't speak any English. 

I want to tell you something about his life, Margy. He 
was born in "Washington, but at an early age moved west 
with his parents, to Minnesota. At least up here in New 
York they think 
Minnesota is way 
out west, but then 
they've never been 
to Texas, so we 
both know it's 
really way up 
north. When he 
went to school he 
played a lot of 
baseball and he is 
a southpaw . . . 
which means he is 
left - handed. He 
also played foot- 
ball, and hockey 
and boxed some, 
all of which came 
in handy later 
when he became 
an announcer. 

He learned to 
play the piano 

when he was seven years old and sang in a church choir. 
When he was seventeen he decided to be a great singer 
and was doing right well at it only radio was invented and 
he got a job as an announcer because he had a hunch it 
had a future. Which it did. And then came the Demo- 
cratic convention in New York and McNamee did such a 
swell job describing it that they started having him de- 
scribe prize fights and other important events. 
Before that he sang in a concert at Aeolian 
Hall, which is a high-hat auditorium in New 
York. You gotta be good to sing there, Margy. 

I guess it is unnecessary to remind you what 
he has done since especially since he is now on 
the same program with Rudy Vallee and you 
hear him every week. He knows a whole lot 
of celebrities, too, like Babe Ruth and Jack 
Dempsey and Colonel Lindbergh and One- 
Eyed Connelly and people like that. And 
everytime he goes to a ball game or a fight 
people say "hello, Mac," and whether he has 
been introduced to them or not he says 
"hello", which shows you he is a good guy 
and not high-hat or anything. 

You know you can pick up Campus Humor 
or Life or any of those magazines and almost 
always find a joke about McNamee. Some 
of them aren't complimentary but he doesn't 
care. He likes them and • clips them out to 
show his friends. 

He has written a book and some day, when 
I get to know him better, I am going to get a 
copy and have him autograph it. 

Left Gift of Fish in Studio 

He gets lots of presents and all kinds of 

funny things. One time somebody sent him a barrel of 
oysters and another time someone sent him some fish, and 
he forgot and left the fish in a studio. They couldn't use 
the studio for five' days after he remembered where he'd 
left those fish. One of the other boys told me that every 
year he gets a big watermelon from some one down south 

and that he divides it up 
with the people in the 
studio. I hope I am here 
next summer. 

Of course, you hear a 
lot of stories about him 
and the funny things he 
sometimes says on the 
air. They say that, 
when the crew of the 
Graf Zeppelin came to 
New York, Mr. Mc- 
Namee was describing 
them coming ashore 
from a boat and Lady 
Drummond Hay was 
coming along with a big 
bunch of flowers and he 
couldn't think of how 
to describe it so he said 
she looked like a swell 
funeral. And then a lit- 
tle later when some of 
the other people on the Graf came along, he said: "The 
crew is now passing out". But shucks, Margy, when you 
stop to think that he has been talking pretty steady for 
eight years he's bound to make a slip once in a while. 

I wasn't able to find out what size hat he wears, but I 
noticed he likes old ones. He's kinda conservative about 
his necktie, too. He plays golf and is pretty good at it. 

Someday I'm going 
to ask him to let 
me caddy for him. 
That's about all 
I can think of 
about Graham, 
Margy. When I 
get to know him 
better I will tell 
you about our con- 
versations. Then I 
may decide to be- 
come an announcer 
instead of a great 
radio s i nger. I 
guess I better ask 
him about that, 
because he has 
been both and 
knows w h ich is 
worse — I mean 
which is the hard- 

Now, Margy, I 

have to go on duty 

and, be sides, the 

man who uses this 

(Continued on 

page 47) 

Graham McNamee, NBC announcer extra- 

F EBR U ARY , 19 3 



"Quaker Girl' Starred on Broadway 

Lois Bennett Came to Radio After Successes with Ziegfeld and Ames 

'PHIS lovely titian soprano is a Texas maid. Born in 
Houston, she came to New York at an early age to 
study music. The Brooklyn Daily Eagle critic, who -wrote 
her first press notice, urged her to go on the stage. She 
never forgot this advice. One day she met Florenz Ziegfeld. 
He engaged her to succeed Vivienne Segal in his current 

follies. She was a success from the start. Then Winthrop 
Ames starred her in his Gilbert and Sullivan revivals. She 
played leading roles in The Mikado, lolanthe and The Pirates 
of Penzance. Months later she met the same critic, now president 
of the Judson Radio Program Corporation. This time he said: 
"Your future is in radio." Again Miss Bennett took his advice. 





1 oints W 



epicurean Delights 


Famous Restaurateur Divulges 
Secrets of Culinary Art via Radio 



WHEN it's 9:45 in the morning by central time, it is 
something else again beyond the Rocky Mountains 
and Way Down East. But when the clock's mov- 
ing finger points to that hour in Chicago, housewives from 
the Pacific's blue waters to New England's rock-bound 
coast call a halt in the day's 
occupations and tune in to 
voices in the air. 

"Good morning! What shall 
we have to eat today?" comes 
the pleasant query, followed 
promptly by the response in 
the sonorous tones of a man: — 
"Well, we might try Pea a 
L'artuvee, made with bacon. 
What a favorite dish that was 
with the diners-out in the 

The Libby morning hour is 
on and off — to a flying start. 
Mary Hale Martin, nationally 
known home economics expert, 
and George Rector, famous 
restaurateur whose name is a 
synonym for culinary perfec- 
tion, are riding their mutual 
hobby, food — Mr. Rector ex- 
patiating on the epicurean su- 
periority of a day when Amer- 
ica in all truth was a nation of 
"diners-out", the gentle Mary 
Hale Martin putting in a soft 
word now and then to turn 
the raconteur's wrath away 
from the sad state of affairs as 
they exist, now that we have 
turned into a "tribe of sandwich-grabbers". 

Within the scientifically constructed kitchen in the 
plant of Libby, McNeil & Libby in Chicago, the scene of 
the regular Wednesday morning broadcast, all is calm. The 
man in the little glassed-in control room, whose uplifted 
finger has just fallen in the "all-ready" signal, is on the alert 
to make sure that all is well with the wild waves of ether. 
Two young assistants, wholesomely charming in their 
spic and span white aprons, stand by ready to offer their 

Mary Hale Martin, director of Home Economics De- 
partment of Libby, McNeil & Libby, and George 
Rector, well-known restaurateur, discuss cooking as 
an art on program broadcast from the Libby model 
kitchen in Chicago every Wednesday morning. 

services. Mary Hale Martin, blue-eyed, golden-haired and 
very earnest director of the Home Economics Department 
of the plant, watches Mr. Rector animatedly and inti- 
mately talking to his unseen multitudes, his restless clever 
fingers busy the while in actually making the dish of which 

he is telling the world. 

In the corridor outside, look- 
ing in through the plate glass 
window that serves the kitchen 
as one of its four walls, are 
scores of visitors who have 
come to verify with their eyes 
what their ears have told them, 
doubtless on the principle that 
"seeing is believing!" 

George Rector's dark eyes 
glisten and he shrugs expressive 
shoulders as ruthlessly he turns 
back the pages in Time's log 
book and reveals a past gayer 
than our professedly decorous 
Pas and Mas would admit to. 
They didn't have a dull time 
at all in the good old days 
when Rector's was New York's 
cross-roads inn, where East 
Side and West Side and All- 
About-the-Town met over the 
table cloths and listened to the 
lilting melodies of Victor 

Started New Year's Revels 

"As a matter of fact, if it 
had not been for Rector's, the 
custom of celebrating the Old 
Year's passing might never have come about!" naively re- 
marked Mr. Rector. "No, nor any cabaret, either. To the 
best of my knowledge, that idea was born on a certain 
night I well remember, when several stage and opera stars 
rose from their tables where they had been seated as guests 
and gave impromptu numbers — an unprecedented perfor- 
mance, for actor folk then took their art seriously and 
saved themselves for their professional appearances." 
{Continued on page 3 8) 



Radio's ONE-MAN Sh 



is marvel of 


Illustrated by Phil Cook 

CERTAIN vaudeville entertainers formerly created a 
sensation by billing themselves as "one-man shows." 
Others managed to please a rather skeptical public 
by appearing as "lightning change artists." It is a matter 
of record that any number of people once made an excel- 
lent living by playing a varied number of roles before the 
footlights in a limited amount of time. 

But radio has a "lightning change artist," who might 
well be booked as a "whole troupe of one-man shows." 
And he has a half dozen other profitable means of earning 
a living as well. 

This one-man broadcasting station is Phil Cook. Dur- 
ing a recent half hour program he played every part heard 


— | — | | £ 


during the broadcast, including a Negro, an Italian ped- 
dler, a "down-East Yankee" and an Irishman. The only 
other voice heard was that of a vocal 
soloist, which came in only twice dur- 
ing the thirty-minute sketch, and it 
has since been determined that this 
voice, too, was Phil's. 

And, at that, he didn't exhaust his 
stock of roles. At other times he has 
been known to add Jewish, German 
and French dialects to his vocabulary, 
switching back and forth between the 
seven mannerisms of speech without 
the customary interruption by an- 
other voice. 

His Fan Mail Is Immense 

Such conversation with himself 
may be a bit trying on the vocal 
cords, but they are pleasing to the 
ear if the listener-letter reaction is a 
criterion. Cook's fan mail is im- 
mense, although many of his listeners 
may not fully appreciate the wide 
variety of entertainment their "one- 







man show" provides in his own inimitable fashion. 

However, voice versatility is not the only reason why 
Cook is liked by the radio audience. And it is far from 
being the only reason those who write about radio con- 
sider him "good copy." 

During the five years he has been in radio, Cook has 
never used a song unless the words were written by himself. 

One writer introduced Cook to his readers as follows: 

"Once upon a time there was a writer of musical shows, 

"Once upon a time there was a commercial artist, or; 

"Once upon a time there was a blackface comedian who 
never used burnt cork, despite his fair skin, or; 

"Once upon a time there was a violinist, or name your 
own brand of entertainment and you'll know Phil Cook." 

This writer neglected to mention Cook's ability with 
the ukulele and guitar. He did bring out, however, that 
three of the Phil Cook shows, "Molly, Darling," "When 
You Smile" and "Plain Jane," had Broadway runs, but 
neglected to men- 
tion several a RT 
others that Cook - ^!_ ' _ 
has found time D I RECTO K 
to do, but. which 
never reached 

His Art Work 

No Mere 


The writer al- 
so explained that 
Cook's work as a 
blackface artist 
had always been 
before a micro- 
phone, where 
makeup isn't 
necessary. And 
the writer added 
that "Cook's 

commercial art work is no mere hobby. He draws posters 
and magazine covers and gets paid for them." 

Another point that was overlooked is that Mr. Cook 
writes every line of radio skits. During recent months 
Cook has appeared before NBC microphones as "Buck" 
of the Buck and Wing programs; in the Flit Soldiers pro- 
gram and, during the summer months, he substituted for 
Billy Jones and Ernie Hare on the Interwoven program. 

Here's the story of Phil Cook's life as written by him- 
self recently: 

"Howdy, folks: This is the Radio Chef! I just want 
to dish you out a few home-cooked ditties, using the little 
old ukulele for a frying pan — so pull up your chair and 
let's have a good time!" 

"One Monday afternoon, about five years ago, the oper- 
ator in the control room of WOR heard these words and, 

for the next fifteen minutes, probably wished that all 
ukulele players were in Hiwiia! (I never could spell 
Hiwiia.) But, in spite of what the operator might have 
thought, the studio director evidently believed the listeners 
wouldn't take my 'uke' playing seriously. He assigned 
me a series of fifteen-minute periods, in which I was al- 
lowed to do and say about as I pleased. 

Featured on Sponsored Hour 

"So for three months I knocked off a half hour at weekly 
intervals from my duties as art director of an advertising 
agency, and sang and played for my own amusement. And 
to my great amazement, at the end of that period I found 
myself 'signed up' as featured entertainer on a sponsored 

"The thought of having a good time and getting paid 
for it was too much for me and I immediately quit my job 
of drawing pictures for advertisements and plunged into 

this new field. 

"There follow- 
ed two sponsored 
programs and a 
trip abroad as 
'America's worst 
ukulele player.' 
Finally, upon my 
return from 
abroad, I suc- 
ceeded in crash- 
ing the gates of 
the National 
i n g Company. 
And I have been 
appearing before 
the microphones 
there in various 
disguises since. 

"I have dis- 
covered that my 
original thought of having a good time and getting paid 
for it has changed to having a time and getting paid for it. 
"This business of trying to be funny two or three times 
a week is not as simple as it sounds. Radio is a business 
and I find my ten years of punching a time clock stand me 
in good stead. 

"In case anybody's interested, here's a list of my various 
activities on the air: Radio Chef, Klein's Shine Boy, Seely 
Air Weavers, Champion Sparkers, Physical Culture Slwe 
Prince, Cabin Door, Real Folks, Flit Soldiers, Interwoven 
Entertainers, Fleischmann Hour, Eveready Master of Cere- 
monies, Buck and Wing, a few fill-in programs that have 
cropped up at odd moments and now The Pancake Man. 

"Now we'll wind up this little monologue with the har- 
rowing details of 'where born and why.' I was born in 
{Continued on page 47) 

FEBRU ARY , 19 3 


Mary and Bob 

Start Their 
Third Year 

Air Wandering 


A VISIT to the True Story Hour on WABC is some- 
thing like going to the circus. There's so much to 
see. Three rings — vaudeville, concert and theatre. 
And, of course, Mary and Bob. 

And yet, after seeing, after watching a program of this 
amazingly successful hour, I realize more and more that 
any radio performance, if it is to find favor with its pub- 
lic, must be designed and executed so that, unlike the small 
boy, it is to be heard and not seen. 

The True Story Hour is most assuredly of this type. To 
appreciate it, you must not look at it. If it was like a 
circus to watch, it was like a circus to leave. There was 
so much that was missed. One can't hear the True Story 
Hour in the studio. 

The performance that I watched unfold happened to 
be the one that started Mary and Bob off on their third 
year of air wandering. The studio was jammed to the 
doors when I arrived. But, with splendid interference by 
two of the Columbia Broadcasting System's most aggres- 
sive page boys, I eventually found my way to a seat ad- 
joining the roped-off enclosure wherein only the performers 
are admitted. And then I turned my attention to the 
"three rings." 

There was a sharp command of "silence!" that left one 
hardly daring to breathe; a minute of absolute quiet that 
seemed at the time interminable, and then — the show was 
on. No parade or anything. It just began. 

Kaleidoscopic and Confused 

What I saw in the hour that followed was kaleidoscopic. 
What I heard was confused. 

What I saw — kaleidoscopically — was . . . 

William M. Sivccts 
Producer of "True Story Hour" 

David Ross, announcing with hand cupped to ear. . . 
Howard Barlow, with baton raised, ready to signal the 
first beat of the theme song . . . Expansive Fred Vettell 
dramatically singing the theme song ... an orchestra ap- 
pearing unusually tense . . . Mary . . . Bob . . . Two 
charmingly engaging young personalities ... a quiet 
young man going about, whispering into the ears of mem- 
bers of the cast who were seated against the rear wall . . . 
Behind a glass window which shut out the control room, 
a group of strong silent men . . . very serious . . . very 
intent . . . Everything is serious and intense . . . 

Another man following the musical score and giving 
cues to the actors by means of a downbeat of a pencil 
. . . Men and girls walking up to the microphone quiet- 
ly and speaking earnestly, gesturing, and then stepping 
away when they had said what they had to say . . . 
Scripts — long sheets of paper ... A table laden with a 
curious assortment of contrivances — an automobile horn, 
telegraph keys, typewriters, toys, bells, a gavel, what-nots 
. . . And a little group of two men and a woman who 
fussed about with them . . . Singers . . . 

Columbia's "Nit-Wits," who appeared to be very intel- 
ligent persons, despite the name which has been given them 
... Helen Nugent, a beautiful girl . . . Harriet Lee, a 
fascinating girl . . . Bradford Browne as master of cere- 
monies, a man you could easily fall in love with . . . 



Actors . . . one of them, Arthur Vinton ... I saw him 
in "The Big Fight" with Jack Dempsey . . . Wilmer 
Walter, beloved by stock audiences the country over . . . 
Joan Blaine, whom Broadway has recently discovered . . . 
Frank Allworth, who recently ended a year and a half run 
in "Hold Everything" . . . Elmer Cornell, of "Gentlemen 
of the Press" . . . And there was Minnie Blauman, a 
charming picture at the piano . . . But what are they 
saying?. . . 

What I heard — confusedly — was . . . 

Music ... an occasional voice ... a sudden blast of 
an automobile horn that scared me nearly to death . . . 
music . . . laughter . . . But at that, only those with 
scripts could know . . . The clicking of telegraph 
keys . . . Must be a newspaper office, or a 
telegraph office . . . Curious sounds mads 
by curious toys . . . Music played gor- 
geously by an interested orchestra . . . 
The last few notes of the theme song as 
Fred Vettell backed Caruso-like from the 
mike to sing them . . . Nothing at all of 
Harriet Lee's solo as she sang, almost 
kissing the microphone . . . But what 
are they saying? . . . 

And that is what I saw and heard 
during a personal visit to the True 
Storv Hour. Had I been at the 
other end, beside my radio, I 
would have listened, according 
to my friends, to a repre- 
sentative program of this 
air feature, skillfully 
blended, i n t e r e stingly 
maneuvered — Mary's and 

Mary and Bob, One of Radio's Most Famous Couples 

Bob's usual intimate repartee, music and a True Story, de- 
lightfully dramatized. 

But, as it was, I saw only a number of very interesting 
and talented persons and heard only a number of interest- 
ing but disassociated sounds. 

Following the performance, I inquired what it was they 
vere saying. My host replied by introducing me to Mary 
and Bob. 

"And what was it all about?" I asked Mary. 

She handed me her script, thirty pages of it. 

"Take this," she said. "I won't need it for the midnight 
show. I can look on Bob's." 

The midnight show, I learned later, is the second per- 
formance of the program, which is sent to the Pacific 
Coast at midnight, eastern time, so that it can be heard 
at nine o'clock, Pacific Coast time. 

To talk to Mary and Bob is a real pleasure. They are 
genuine, sincere representatives of young America. 

Ask them how they happened to become so well known, 
how they happened to become Mary and Bob, and they'll 
probably tell you, as they told me, that they "don't really 
know. It just happened." 

Both Mary and Bob are keenly interested in music, 

books, art and outdoor life. Bob is at present taking 

a course of instruction in aviation and expects soon 

to receive his pilot's license. Mary has flown with 

him on several occasions. Much of her spare 

time, she told me, is devoted to writing. 

'Did you write this?" I asked, pointing to 
the script she had given me. 

"Oh, no," she explained, "Mr. Sweets did 

Mr. Sweets, it developed, was William 
M. Sweets, the quiet young man I had 
noticed earlier in the evening, whisper- 
ing to the actors. He, I learned, has 
written, cast and directed all of the 
True Story programs since their 
inauguration in January, 1928. 
At present with the advertising 
firm of Ruthrauff & Ryan, 
Mr. Sweets is a pioneer in 
radio broadcasting. He was 
former studio manager of 
WRC, continuity editor 
of WJZ, and the first per- 
son to hold the title of production manager at the Na- 
tional Broadcasting Company. That was in the good old 
days when WJZ's studios were at 3 3 West 42nd Street and 
radio was getting its bearings. 

Upon further inquiry, I discovered that Mr. Sweets 
came to radio from journalism, having formerly served as 
newspaper correspondent in New York, London and Wash- 

I suspect he will agree with me that no radio pro- 
gram, if it is to be successful, is any kind of a show to 
watch. As a matter of fact, you can't tell what it's all 

One of the Immortals 


A little gray mouse, while wandering about, 

Got caught between leads — and the lights went out; 

News items were scarce, so a minute or two 

Was used to tell what a mouse can do — 

How men centralized trouble, the labor, expense; 

For what that mouse did there luas no defence; 

And the little dead mouse from on high looked down 

On the darkness and havoc he'd caused that town, 

When clear through the ether on sound waves came: 

"The short circuit ivas caused by" — and then his name! 

F EBR U ARY , 19 3 


A Case fir Television 

A pretty girl and 
a pretty melody 
make a great com- 
bination. Beatrice 
B e 1 k i n (above) , 
NBC soprano, 
would make any 
television set the 
most attractive 
piece of furniture 
in the house. Bea- 
trice, as everybody 
knows, is a member 
of that famous 
gang of Roxy's, 
heard on Monday 

A talking pic- 
ture of little Mar- 
garet Schilling (at 
right) can't dec- 
orate our mantel- 
piece any too soon. 
She sings on the 
RKO hour over the 
NBC chain. 

No one would 
want to keep this 
Wolfe from the 
door. Rosalie, a 
brilliant NBC so- 
p r a n o (above) 
would be a wel- 
come visitor in any 

We're going to 
take this picture 
of Dorsey Byron 
(at left) Colum- 
sweet soprano, 
right up to 
television experts. 
That'll make them 
quit their non- 
sense and get to 






AJESTIC JTIOUR i^xperiment 


:*!. IM 

Lee J. Seymour 
Majcstic's Director of Broadcasting 






MANY interesting experiments have been tried in 
radio broadcasting, but probably none has caused 
more widespread comment than the one which was 
successfully demonstrated in the Majestic studio of the 
Columbia Broadcasting System in New York City one 
recent Sunday evening. 

As I looked into the studio through the thick glass 
windows of the reception room, there appeared to be a 
conductorless orchestra in action. My imagination was 
immediately cap- 
tured by the 
novelty of an 
orchestra of sym- 
phonic propor- 
tions playing in 
perfect synchron- 
ization with the 
voice of a so- 
prano, who was 
singing a difficult 
operatic aria. 
Timing was per- 
fect, yet no 
member of the 
ensemble seemed 


1 10., 


ma* mmU. \t^L^^\^ *^B ^^VBk 




\y^A V^A V^^ * 

Arnold Johnson Conducting His Orchestra from Behind Glass Partition. 


to pay the slightest attention to the singer. The repro- 
duction from the loud speaker in the room was perfect. 
Curiosity prompted an investigation. Just before the pro- 
gram started, Arnold Johnson, conductor of the Majestic 
Orchestra, said in reply to several of my questions: 

"I can well imagine that to one on the outside of the 
studio the spectacle of an orchestra cuing a singer per- 
fectly, with no conductor in sight, would seem strange. 
It is the result of an idea that I have had in mind for a 
long time. In my years of directing orchestras for radio 
broadcasting, the greatest handicap I have experienced has 
been trying to give a singer the proper orchestral accom- 

"You know how some of these radio artists sing — right 

up into the 
"mike." To a 
person in the 
s t u d io, though 
only a foot or 
two away, there ■ 
is no sound at 
all. I have often 
thought that a 
loud speaker 
a 1 o n g s ide my 
conductor's stand 
would simplify 
matters. But 
that, of course, 
would be impos- 

f EBRU ARY , 19 3 


sible, as what is technically known as "feed-back" would 
ruin any radio program if a loud speaker were placed in 
the studio. 

Director in a Separate Room 

"Finally, a little over a year ago, I decided that the 
most logical way in which to direct an orchestra during a 
radio program was for the director to be in a separate, 
sound-proof room, equipped with a loud speaker and built 
with a glass partition facing the studio. This would give 
him every tonal inflection of the singing voice, the bal- 
ance of each section of the orchestra in relation to the 
performance of the whole as a unit, and would allow him 
to hear the program just as it was to be worked out to 
insure perfect co-ordination of performer, orchestra and 

"At one time a few months ago, I discarded the idea 
as being too new and untried, 
but my attention was called 
to an article in one of the 
leading periodicals describing 
the broadcasting situation in 
Europe. The writer stated 
that several of the major 
studios throughout England 
and France had successfully 
demonstrated that an orches- 
tra could be conducted by a 
director in a separate glass 
booth. I again became en- 
thusiastic about the idea and 
began working out details. 

"Fortunately, the new stu- 
dios of the CBS were con- 
structed with two control 
rooms, each having glass par- 
titions between the operator's 
panel and the studio. This 
simplified matters to some ex- 
tent and eliminated the neces- 
sity of building a separate 
booth for the conductor. Ex- 
periments were made with va- 
rious types of lighting, to re- 
move the glare from the 

double glass partitions separating the conductor and his 
orchestra. A system of signal lights was installed and a 
new grouping of instruments was worked out to make it 
possible for all members of the ensemble to see the director 
behind the narrow double glass panel. 

New Era in Conducting 

"This afternoon, at our dress rehearsal, we smoothed 
out the rough spots, and I am sure tonight's broadcast will 
prove conclusively that a new era in orchestral conduct- 
ing for radio is being ushered in." 

As the writer was ushered into the studio by a courteous 
page boy, a violin solo was being played by one of the 
orchestra men. As I tip-toed to my seat, thinking the 
program was on the air and that any noise would be little 
short of a criminal offence, Mr. Johnson shouted: "How 
much was it." "Two-thirty," was the reply. I knew 
from this that I was early. I soon found out that the 

orchestra rehearsal was over and that Mr. Johnson was 
timing the violin solo. Every number is accurately timed 
before the program goes on the air. 

The program opened with Song of the Bayou, the com- 
position of Rube Bloom that won a prize in the recent 
Victor Talking Machine Company contest. The vocal 
interlude was sung by Barry Devine. I learned that David 
Rosensweig was the violin soloist and that on this par- 
ticular program the Majestic Orchestra was featuring its 
individual players in the various selections. 

As the program progressed, I had the opportunity of 
seeing in actual operation Mr. Johnson's new method of 
conducting from a small room next to the control room. 
It seemed to be working fully as well as he had predicted it 
would. Mr. Johnson stood behind a large glass window 
in this room and led his orchestra. Not only could he be 
seen easily by the men, but he also was able to hear, by 
means of the loud speaker installed in the little room, just 

how the program was going 
out over the air and thus regu- 
late his orchestral balance. 

Several times during the 
program Mr. Johnson motion- 
ed to various musicians, sig- 
nalling them to move nearer 
to the microphone or away 
from it. In this way he was 
able to produce exactly the 
effects that he wanted and 
that the score called for. It 
seemed to me that this new 
idea in c o n d ucting should 
make for more perfect broad- 
casts, inasmuch as the con- 
ductor is the one who is best 
fitted to tell what the various 
instruments are capable of do- 
ing and when they should play 
louder and softer. 

Muriel La France, Soprano; Red feme Hollinshead, 

Tenor, and the Majestic Male Quartet, on the 

Majestic Hour. 

Departs from Custom 

In all broadcasts it is the 
custom for the production di- 
rector to station himself in the 
control room behind the glass 
partition, so as to judge how the program is being re- 
ceived over the air, and to make improvements in its 
reception by signalling his instructions through this win- 
dow to the musicians or the orchestra leader. This new 
idea, adopted in the Majestic Hour, puts this duty on the 
hands of the orchestra leader himself, who is the logical 
one to do it. After all, it is usually the orchestra leader 
who is criticized if the orchestra is not properly balanced. 
While a production director may be highly capable, he 
cannot be expected to know as much about the musical 
portion of the program as does a specialist in that line. 

Upon the completion of the program, which was spon- 
sored by the Grigsby-Grunow Co., makers of Majestic 
radio sets, I was introduced to Lee Seymour, who an- 
nounced the hour. He is the director of all Majestic 
broadcasts. He is assisted by Henry P. Hayward. They 
all seemed highly pleased with the experiment of con- 
ducting "behind the glass," and said that the practice 
would be continued. 



An Open Letter 


"The People in an adjoining apartment thought we had 
caught a Burglar. It was Cincinnati!" 

I read with much interest your article in the 
first number of Radio Revue, and now feel the 
urge to burst into print and take issue with you on several 

You claim to present the views of an "average fan". 
What you say may be, and probably is, the true expression 
of the majority of radio fans who are compelled to live in 
the metropolis, but to consider yourself the spokesman for 
the entire country is going just a bit too far. What about 
us poor souls who do not possess the inestimable advantage 
of living in New York? Are we to be just ignored as not 
counting in the scheme of things? Or may we raise a 
timid voice to have our say on this burning question? 

I haven't a lot of statistics at my finger-tips, nor have 
I even heard some of the performers to whom you refer. 
But, nevertheless, I claim to be just as truly representa- 
tive of the class of fan who gets one of his greatest in- 
terests from the radio as you are. 

To begin with, perhaps I had better mention the points 
on which I think your judgment is sound. We both con- 
sider ourselves lowbrows — and are proud of it. We both 
get a terrific kick out of the so-called popular programs. 
I, too, have been a radio addict for many years — and am 
growing more so every day. I have been the owner of a 
more or less capably performing set since the days of 1923. 

Thought We Had Burglar 

Never will I forget the thrill of that first set! The 
people with whom we lived then had one of those cat- 

Mr. Average Fan 


Mrs. Upstate 

whisker, now-you-get-it-and-now-you-don't affairs and, 
when, we went them one better and bought an honest- 
to-goodness four-tuber, we were the envy of all be- 
holders. The first night we had the set, my husband 
was "tinkering"' very late and had the headphones on. 
All of a sudden I was horribly startled by hearing him 
shout: "I've got 'em — oh, I've got 'em!" I jumped up 
and hollered back: "Hang on to 'em, don't let 'em get 
away!" Whereupon the people from an adjoining apart- 
ment came rushing in, thinking we had caught a burglar! 
And it turned out to be Cincinnati ! 

Since those early years we have had a variety of sets, all 
the way from a one-lunger to our present super-het, and 
have followed the progress of the programs pretty closely. 
You hit the nail on the head when you say that the radio 
is not always conducive to marital felicity, but we have 
safely weathered the prospects of having our family life 
completely disrupted. We emerged victorious from the 
threat of manslaughter or divorce, and have now arrived 
at a fairly comprehensive working basis. 

Mr. Average Fan, I want to congratulate you on your 
wise choice of announcers — excepting that you fail to 
emphasize strongly enough the appeal of Norman Broken- 
shire and you overemphasize that of Ted Husing. Not 
being especially a sport addict, the latter leaves me quite 
cold. But the former! Well, it's a case of "Oh baby, look 
what you've done to me!" Seriously, Brokenshire is a 
marvelous announcer, whose voice comes over perfectly 
at all times, and is free from the slips which are noticeable 
with some others. 

My Favorite Announcers 

We like McNamee for sport, also Ted Husing. But for 
other types of programs give us Milton J. Cross, David 
Ross, and the newcomer, Frank Knight, all of whom 
possess delightful voices and splendid diction. Phil Carlin 

F EBRU ARY , 19 5 


Mrs. Upstate Listener gets Mr. Average Fan's Ear 

used to be a favorite, but he developed a certain cynical 
effect that doesn't go over very well with this fan. 

It is quite true that many programs originating west of 
New York are mighty poor but, on the other hand, have 
you ever listened to some of the 
programs emanating from To- 
ronto, or Eastman's in Roches- 
ter? We often hear from these 
stations concerts of 
which New York it- 
self would have no 
cause to be ashamed. 
However, we can 
have no real quarrel 
on this point, for I 
agree that there can 
be no question but 
that the finest in 
the world come 
from either NBC or 

You don't say 
much about the plays that come over often and from 
which I get a tremendous thrill, almost as great as from 
the theatre itself. However, I'll forgive you this omission 
in view of the fact that you refrained from making that 
wisecrack, which we read in every radio column in every 
paper in the country, about the "radio soprano." I don't 
think I could have borne it if you had talked about this 
much-maligned creature. After all, in spite of the storm 
of slams she gets, she still remains practically the highest 
paid artist on the air, as witness Olive Palmer, Jessica 
Dragonette, et al. And that must mean something. 

Still Gets Thrill From DX 

As for the question of DX dying out, it no doubt has 
in such a place as New York, where the sta- 
tions are so thick they get in your hair, and 
where one must pierce the haze of heterodyn- 
ing to get any distance at all. But to us in the 
sticks, the thrill of staying up late at night 
to hear a still small voice say, so softly as 
to be almost unheard, "KFI, Los Angeles," 
still remains pretty strong. Although to 
be sure, with the super-het it is no trick at 
all to get the coast on any good night. 

They say that gasoline engines are human 
and have all the cussedness connected with 
the normal human being. If this be so, 
then how much more human is the radio 
set. Surely most of us have experienced the 
aggravation of inviting friends in to hear 
us get California, only to have the darn 
thing lay down on us, and then have to en- 
dure the incredulous smiles of our guests. 
If that isn't just like a kid refusing to show off, I don't 
know what is. 

Now Mr. Average Fan, here's the real crux of my com- 
plaint. I object strenuously to your claiming that the 
average fan, in the person of yourself, prefers to tune in, 
say, Helen Kane, to a symphony concert. One does not, 
necessarily, have to be a high brow to prefer good music 
to that which can't, by any stretch of the imagination, be 
termed music at all. I know it is possible to love both 

Walter Damrosch and- Rudy Vallee. I know it, for I do 
so myself. And I contend that there are many thousands 
of listeners who have never heard of Helen Kane, and who, 
if they did happen to stumble across her boop-a-dooping 
merrily along, would lose no time in putting them- 
selves elsewhere pronto. Station Me speaking, for 

Bully for you, in saying Vincent Lopez and Roxy 
are too sweet for words. I'm 
off-a sugar anyhow. And I'd 
love to know who among the 
announcers you abominate. 

Well, it's a great life, and I 
for one am growing more at- 
tached to my radio than to 
shows, social life or anything 
else in the way of amusement, 
and now I am getting fairly 
well acquainted with what the 
inside of my home looks like. 

I've spoken my piece now 

and, like Ben Bernie, "I hope 

you like it!" and will forgive my temerity in venturing to 

express a few words on behalf of the "Hicks from the 

Sticks." — Margaret H. Heinz, Buffalo, N. Y. 

Braine-Child Has Premiere 

I 1 HE ballet music from The Eternal Light, a new Orien- 
-*- tal work in opera form by Robert Braine, American 
composer, whose SOS was recently presented to the radio 
audience by Dr. Walter Damrosch, had its premiere under 
the baton of the same conductor on the General Electric 
Hour, on Saturday night, January 11, at 9 o'clock. 

The first part, Oriental Dance is true to the accepted 
ideas of Oriental music, but is treated in an original way 
in the orchestra. The second part is a languorous love- 
waltz with a definite sweep to it, and a melody that falls 
gratefully upon the western ear. The 
Temple Dance of Els Cosiers is set 
to a different rhythm, accented by 
a gentle tambourine beat, while a 
totally different mood is established 
by the Dance of the Flower Girls, 
-the second part of which is a stately 
ritual dance, well-orches- 

trated and attuned to its 
subject. It develops later 
into a swirling, gay dance 
in which the horns and 
xylophones joined merrily 
with the strings, bringing 
the piece to a whole- 
hearted climax. 

Concerning the work 
Mr. Damrosch says: 

"The Dance of Els Cosiers 
is especially interesting, being an impression of the Spanish Temple 
Dances described by Viullier as follows: 'A body of dancers called Els 
Cosiers consisted of six boys dressed in white, with ribbons of many 
colors, wearing on their heads caps trimmed with flowers. One of 
them, La Dama, disguised as a woman, carries a fan in one hand and 
a handkerchief in the other. Two others are dressed as demons with 
horns and cloven feet. Every few yards they perform steps. Each 
demon is armed with a flexible rod with which he keeps off the crowd. 
The procession stops in all the squares and principal places and there 
the Cosiers perform one of their dances to the sound of the tambourine 
and the fabiol. When the procession returns to the church they dance 
together around the statue of the Virgin.' " — W. P.-M. 

"Oh, Baby! Look what you've done to me." 



JtATIC from the XtUDICX 

Sam Herman, NBC's demon xylo- 
phone player, was married in 
Philadelphia late in December to 
Miss Alma Knopfel. They both 
come from the Williamsbridge sec- 
tion of the Bronx. Sam had known 
his bride about a year before they 
were married. They first met at 
Curtiss Flying Field, where Sam 
was a student flyer. Having re- 
ceived his pilot's license, he says, he 
now feels capable of piloting the 
young lady through life. They are 
now living in a penthouse apart- 
ment at 76th Street and Amster- 
dam Avenue, New York. Inci- 
dentally, Sam just lately signed a 
contract to play exclusively for 

A A A 

Setting-up exercises at Station WL W, 
Cincinnati, have a new snap to them 
since January 5, when Miss Jeanne 
Carolyn Burdette arrived at the home 
of Robert Burdette, director of exer- 
cises, and assistant program director 
for both Crosley stations. It is under- 
stood that the young lady has already 
started to broadcast. 


Julius Mattfeld, that lean, lithe 
music-hound, continues to give exhibi- 
tions of shadow boxing before the CBS 
orchestras. Julius is a fine musician, 
and there is absolutely no truth to the 
rumor that he aspires to the middle- 
weight championship of the world. He 
declares that his fights are strictly 
verbal, and are only with musicians and 


It does not always pay to be 
right. The other day, in one of the 
NBC light opera performances, 
Gitla Erstinn, soprano, was the 
only one in the entire company who 
held a certain note the prescribed 
time. The others all fell by the 
wayside. After the broadcast Gitla 
was complimented by Director 
Harold Sanford and the rest were 

admonished. But the ironical part 
of it is that an outsider, comment- 
ing on that performance, said: "It 
was fine, but who was the girl who 
held on to that note too long?" 


Publicity often has its perils. Wil- 
liam Wirges, well known orchestra 
leader and arranger, recently has re- 
ceived a great deal of publicity in con- 
nection with a yellow clarinet he owns 
that has 13 keys. It was first owned 
by his grandfather, who played it in 
the days when he led a regimental band 
in Buffalo. As a result of this pub- 
licity Bill has been singled out as the 
"hot" clarinet player on several of the 
hours he conducts. As a matter of fact, 
Bill doesn't know a thing about play- 
ing a clarinet. His instrument is the 
piano and, if you could hear how he 
makes the ivories do his bidding, you 
would have no reason to suspect that he 
might be a clarinet player. 


The children of the radio studios 
brought out for Christmas and the New 
Year a truly funny magazine called 
"The Tin Trumpet", which for a mo- 
ment threatened the popularity of 
Radio Revue. The first edition, a very 
limited one and the work of the kids 
themselves, was sold out before it left 
the bindery. Look for the February 
number, (free advt.) 


An English critic, reviewing a phon- 
ograph record made by the erstwhile 
American taxicab driver, Eddie Wal- 
ters, called him "The Crystal Spoofer." 
Eddie spends most of his time these 
days trying to ascertain what the Brit- 
isher meant. The record was "Good- 
ness, Gracious, Grade" and, since it 
was the only record accepted by British 
distributors out of approximately forty, 
his friends say that the London writer 
meant to be complimentary. Walters 
was on WOR recently, strumming his 
uke and singing the newest comedy 

songs. He is an exclusive Columbia 
phonograph artist. 


Will Osborne was guest of honor at 
the Women's Home Guild Luncheon in 
Brooklyn recently and received a big 
ovation. Will took his CBS orchestra 
with him and entertained the ladies. 
Everything went well until the ladies, 
becoming curious, asked him a lot of 
personal questions such, as "Can you 
cook, Mr. Osborne?" and "Have you 
got a home?" and so forth. Will man- 
aged to get off one answer and brought 
down the house when he replied to the 
first question. He said he cooked his 
own breakfast only because he liked his 
toast burnt. At this luncheon Will met 
many of the ladies who have followed 
his croonings over WABC and Colum- 
bia stations for long time. 


One evening not long ago, Frank 
Croxton, bass of the American Singers, 
NBC, was proudly displaying part of 
an orchestration in manuscript for a 
song he was to sing. It turned out to 
be "Gypsy Love Song" of Victor Her- 

(Continned on page 33) 





















FEBRU ARY , 19 3 


New Meteor Flashes 





DURING the past two years there has been great con- 
sternation among the constellations in "Blue 
Heaven," which is the Happy Hunting Ground 
for jazz players and orchestra leaders. The disturbance 
originated with the unheralded appearance of a new 
meteor which has flashed with ever-increasing brillance in 
recent months. Latest reports indicate no dimming of the 
bright star that is Bert Lown, orchestra manager extra- 

Bert is a mere lad — he is only twenty-six — but already 
his bands stretch to the far corners of this hemisphere, 
elastically speaking. In fact, the pulsing beat of his 
syncopation has been felt in Paris, London and South 
America. He has graduated orchestras more numerous 
than Jimmy Walk- 
er's welcoming re- 
ceptions and has 
succeeded in making 
his little name a big 
factor in Broadway 
orchestral circles. 

He conceived the 
idea of being an or- 
crestra magnate 
about six years ago. 
His first step up the 
scale con sisted of 
teaching himself the 
notes according to a 
simple system of his 
own. Then he trav- 
elled, to gain a little 
experience. Later, in 
an effort to learn the Tom Cline and his Brunswick Recording Orchestra 

secrets of successful salesmanship, he sold typewriters. 
Finally he- took a correspondence course, to acquire a 
knowledge of business. 

In 1927 he decided that he was about ready to try his 
luck, so he opened a Broadway office. Opportunity not 
only knocked at his door, but came in and paid him a 
sociable call. The result was that Bert got along famously. 

He soon had estab- 
lished a wide repu- 
tation for himself as 
an orchestra organ- 
izer. Two of his 
better known prod- 
ucts are Tom Cline's 
Collegians and Rudy 
Vallee's C o nnecti- 
cut Yankees. 

Through the 
Melting Pot 

Broadway is nat- 
urally the hub of 
activity in jazz cir- 
cles. The best or- 
chestra talent in the 
{Turn to page 43) 





Ethec Etching/ 

■^ ^^fc^^^fc.'^." ^" fc."fc~ ^'^"■^"^^^^■^■^^" ^^^^^^-^^%^^^^* s ^-^^^^^^^^-^"^^^"%^^^^^ s Ar-^f v ^^'-^ , '^^^^^^^~^^r-^^^^^^^ , ^~'^^^^^^^^^ *^> 

Likes Light-Housekeeping 

r I ^HIS tall and very capable lady is Margaret Cuthbert. 
-*- You may not have met her, for she seldom leaves 
her office, on the fourteenth floor of the NBC building. 
She has an office, a department, and this column all to 
herself. Her full name is Margaret Ross Cuthbert. She 
was born on the banks of the Saskatchewan at Prince 
Albert in Canada and was educated at Cornell University, 
winning the degree of M. A. Miss Cuthbert's father is 

Assistant C o m m i s- 
sioner of the Royal 
Canadian Mounted Po- 
lice, which explains her 
height and courage. 

She joined the busi- 
ness of broadcasting in 
1924 at WEAF, tak- 
ing charge of all speak- 
ers and educational 
programs, and she still 
holds this position at 
711 Fifth Avenue, but, 
instead of presenting 
two speakers a day, 
the average back in 
1924, Miss Cuthbert 
now places forty 
speakers a week before 
the microphone. 
As everyone knows, who knows Margaret Cuthbert, her 
favorite occupation outdoors is riding. Had she been a 
boy, she would probably have won distinction in the Royal 
Canadian Mounted Police, for she rides very well. Her 
pet aversion is a certain class of women, to whom you 
say: "How are you?" and they then proceed to tell vou 
exactly how they are, and a lot of things in addition, tak- 
ing up four hour of your time on a busy day and com- 
pletely upsetting your day's routine. 

Her secret ambition is to retire to a light-house, where 
she declares that she will take up light-house-keeping. She 
has been cautioned about making jokes like this. She has 
one frightful perversion and that is an appetite for hors 
d'oeuvres for breakfast, which, as you know, simply isn't 

Miss Cuthbert has written many short stories and some 
good poetry, but she has never had the time to write a 
book, although she has started several. 

Some of the celebrities she has "put on the air" are 
Prince William of Sweden, Sarojani Naida of India, Presi- 
dent of the National Women's Congress; Molyneux, 
Padriac Colum, Lord Dunsany, Mrs. Franklin D. Roose- 
velt, Heywoon Broun, Don Marquis, John Galsworthy, 
Richard W. Child, and a lot of others who might be 
taken almost at random from a literary, artistic or social 
"Who's Who". 

Margaret Cuthbert 

Work His Chief Amusement 

\ MODEST and retiring gentleman is Keith McLeod, 
-^*- who supervises the music on NBC programs. He is 
a native of Loveland, Colorado, and was educated at 
Denver University. A brilliant pianist and organist, with 
much experience in the fields of orchestration, arrange- 
ment and composition, he is an ail-American product 
musically, for all of his studying was done in this country. 

He plays for the 711 Personalities, when he is in the 
mood, and has always 
been a tower of 
strength to the Arm- 
chair Quartet, for 
which he makes un- 
usual vocal arrange- 
ments and also plays 
piano, organ or vibra- 
phone, as the occasion 
demands. Contrary to 
an opinion long held by 
many musicians, Mr. 
McLeod did not invent 
the vibraphone, al- 
though his judgment 
has been sought in con- 
nection with the 
manufacture of the 
latest types of this in- 

His first radio ex- 
perience was gained at 
WJZ in 1923, where 
he served as accom- 
panist in charge of au- 
ditions. In the early days he was often complimented on his 
spontaneous "stand-by programs," which he shared with 
Milton J. Cross and other announcers who were gifted 
musically. He seldom leaves the studio and takes many a 
meal at his desk. He claims that his main amusement is 
work. In addition to the routine of his office, which 
often requires long hours, he has found time to write 
quite a stack of good music, excerpts from which are 
often heard on the NBC networks. 

His published compositions include Southern Skies, My 
Prairie Rose, Slumber On, the amazingly popular signa- 
ture of WJZ's famous Slumber Hour, a number of piano 
arrangements of old favorite songs for which Godfrey 
Ludlow made violin transcriptions, Memory's Treasure 
Chest, signature for the Stromberg-Carlson Hour, and a 
number of other works. He has a tremendous capacity 
for composing and takes an absorbing interest in it. 

His pet aversions are whistling page boys, insurance 
canvassers, subways and bootleggers, and he is compiling 
quite a long list of names marked "For Immediate and 
Violent Removal". He likes riding, automobiling and golf. 

Keith McLeod 



Jtatic rccM ™e Xtudicx 

(Continued from page 30) 

bert, and this particular part of the 
orchestration was done in Victor Her- 
bert's own writing, frank explained 
that, on one of the tours he made with 
Herbert about 1 5 years ago, the pub- 
lishers had sent him a printed orches- 
tration. Herbert found if so unsatis- 
factory that he sat right down and did 
part of it entirely over for Frank. 
Naturally, Frank now prizes the manu- 
script highly. 


Harry Link, of Santly Bros., Inc., music 
publishers, was one of the real radio pio- 
neers. For several years he was manager 
of Station WIP in Philadelphia and he has 
had a long and varied connection with 
radio bradcasting, dating back to about 
seven years ago. The funny part of it is 
that, in all this time, Harry has never 
owned a radio set. However, he has ap- 
parently seen the error of his ways, be- 
cause one of his friends met him the other 
night on his way to buy a radio receiver. 
Probably one reason for his decision was 
the fact that Harriet Lee, crooning con- 
tralto soloist on the Ceco Couriers, WABC, 
had just broadcast for the first time 
Harry's latest song, called "Gone." 

A few iveeks ago Maurice Tyler, 
NBC tenor, was suffering from throat 
trouble. He bought an atomizer and 
sprayed his throat at regular intervals. 
However, on one occasion, the nozzle 
of the atomizer worked loose and, be- 
fore he realized if, he had sivallowed it. 
This apparently has opened his eyes to 
talents that he did not know he pos- 
sessed, because he can be seen almost 
any night now at a nearby restaurant, 
practicing sword-sivallowing with the 
silver knives there. 


Ralph Edmunds, popular station man- 
ager of Station WRC, Washington, has 
been transferred to the NBC, where he 
has many friends. He was last seen with 
Anna Knox, the English novelist, and 
J. H. Benrimo, the author-actor-pro- 
ducer, seeking "rognone trifolati" in a 
small but very good Italian restaurant. 

Despite Ralph's faultless French and 
Italian, and his exotic tastes, he is a 
Londoner, with an Eton College educa- 
tion, and a bright sense of humor. 

Judson House, NBC tenor, is at 
present busily engaged in an effort 
to reduce his weight. He has been 
promised a contract to sing leading 
roles in light operas that are to be 
filmed as talking pictures, if he 
takes off 40 pounds by March. He 
has already lost over 3 5 pounds by 
means of an orange juice diet and 
seems to be well on the road to a 
more svelte waistline. 


Irma de Baun, coloratura soprano, 
who is on the Evening in Paris Hour, 
CBS, sang a group of songs recently at 
an informal tea given by the Home 
Making Center of the New York State 
Federation of Women's Clubs in the 
Grand Central Palace. Leonora Corona 
and Eleanor La Mance, both of the 
Metropolitan Opera Company, poured. 


Recently Walter Preston, NBC 
baritone, was discussing operatic 
and dramatic roles with Virginia 
Gardiner, the bright star of NBC 

"Before I go to the microphone," 
said Miss Gardiner, "I always know 
my roles by heart." 

"What a baker you must be — 
to know your rolls so well," replied 
Walter, as he faded out of the pic- 


The name John McCormack is synony- 
mous with a high standard in singing. 
The same seems to apply regardless of 
how the name is spelled. At WOR is a 
youngster who spells it McCormick. He 
is a baritone, however. 

Young McCormick broke into WOR a 
year ago only to be turned down by a 
man who might reasonably be expected to 

give him a chance George Shackley, music 

director of the station and his first cousin. 

"Go out and get some more instruction 
before you come in here", he was told. 

"If you ever get on WOR it will be 
through merit and not because of your re- 
lationship to me. Remember that you will 
have to pass an audition board of seven 
and you will have to get the approval of 
all of them". 

The youth walked out somewhat discon- 
sloately. Several -weeks ago he returned 
and not only got the approval of the seven 
auditors but their highest compliments as 
well. He went on the air recently. 


Norman Fierce, the ''Bachelor Poet" 
and formerly one of the leading an- 
nouncers at WMCA, has joined the Litf- 
mann forces to do special broadcasting 
during the fourteen half-hour programs 
on the air via WABC by that sponsor 
every week. He will be heard' on the 
air several times each week. 


From the office of John de Jara 
Almonte, assistant to the Vice 
President of the NBC and in charge 
of executive offices at night, comes 
the information that he has been 
host to over 95,000 guests who vis- 
ited the NBC studios at 711 Fifth 
Avenue during 1929. In the same 
period of time, and for the eve- 
(Confinued on page 3 S ) 

Electric Clock 

Place it on your radio set, and get accu- 
rate time for tuning in on your favorite 

Tickless, springless, care-free operation. 

Plug in on light socket. 

Case in walnut finish, Bakelite. 

Three inch silvered dial, heighth 7J4 

Sent Prepaid — Price %9.95 

William H. Enhaus & Son 
26 John St. New York City 



Second Issue Sold Out! 

r I ^ HE editors of Radio Revue were totally unprepared 
-*- for the rush that greeted its second issue. We 
rather expected that the elments of novelty, which might 
naturally be expected to accompany a first issue, would 
wear off and that the second issue would be received and 
accepted more as a matter of course. However, such was 
apparently not the case, much to our pleased astonish- 

The extremely cordial reception that Radio Revue has 
had on all sides is truly heart-warming to us. We are 
more convinced than ever that there is a definite need 
and place for such a magazine. Letters and subscriptions 
have been pouring in from listeners in all parts of the 
country. These letters, a few of which are reproduced in 
another column, have been a great inspiration and guide 
in planning future issues. 

Again we invite all of our readers to write us frequently, 
expressing their likes or dislikes in radio programs, mak- 
ing suggestions for improving conditions for listeners in 
any way, asking information about radio artists or pro- 
grams, or suggesting what artists or programs they would 
like to see featured on the cover or in special articles. Help 
us to make Radio Revue a real listeners' forum, a medium 
for the exchange of opinions on radio broadcasting by 
those who listen in. 

Radio Fans Cannot Be Denied 

r I ^ HE affections of radio fans cannot be trifled with. 
-*• This the Pepsodent Company, which sponsors Amos 
'n' Andy, has learned through rather costly experience. 
This company, which was the first national advertiser to 
use the radio every day, took over the Amos '»' Andy 
program last fall. It is understood that the company 
pays for this program about $750,000 a year. Of this 
amount A?nos '«' Andy, in private life Charles J. Correll 
and Freeman F. Gosden, are said to receive about one- 

Not long ago the company tried to change the time of 
its broadcast from ten to six o'clock central 
time and, in fact, did so for a short time. 
However, protests immediately began to pour 
in from all sections. It is said that a hun- 
dred thousand letters, telegrams and tele- 
phone calls were received within a week. 
Merchants in the middle West complained 
that their trade was being ruined because 
customers had to hurry home to listen to the 
radio. Employers protested that their clerks 
and stenographers were sneaking home early. 
People all over the country threatened to 
boycott Pepsodent unless the broadcast was 
changed to a more satisfactory hour. News- 
papers printed protest ballots and dealers 
wired in, declining to handle Pepsodent any 


longer. Such is this program's great hold. 

In all, it was a most unique situation, the like of which 
had never before arisen in radio broadcasting. In the end 
the fans won. Since November 25 Amos 'n' Andy have 
been on the air twice every night, at seven o'clock eastern 
time and 10:30 central time. Incidentally, this serves as 
a vivid illustration of the amazing hold that these two 
characters have on the listening public throughout the 

The Ramifications of Radio 

GREAT and manifold are the workings of radio. This 
is shown eloquently by the list of subjects handled 
in a few months by one of the great chains. The com- 
prehensiveness of the list of lectures, talks, explanations, 
illustrations and discussions makes the most erudite of us 
feel positively ignorant of what is going on all around us. 
Over the air we have been intimately informed of archi- 
tecture in most of its important branches and we have 
been introduced to the staggering skyscraper of the future, 
just as we have been led by the hand into the two-room 

Not only that. We are on intimate terms with classic 
sculpture, cut gems and other jewels, the inner workings 
of the prosaic laundry, the inmost essences of cooking and 
the dark corners, if any, of the kitchen. For those who 
can still afford to wear clothes, dress-making has been 
touched upon in all its forms, so have art exhibits and 
Russian art (a nice distinction!), Persian poetry, Indian 
art and literature and the American Indian dance. 

Coming down to earth (pardon us!) we have also been 
informed of stunt flying for movie thrills, and new forms 
of cremation and burial of the dead, a natural sequence. 
Then we have been enlightened on gardens and gardening, 
psychology, sports and recreation, the French language, 
most of the other languages including the Scandinavian, 
hand weaving, women in civic work, city planning, noise 
abatement (perhaps we should not mention that in an 
editorial like this!) the drama, literature, short story 
writing (however did that get on the air?), and musical 

Are you interested in breeding game birds, judging dogs, 
and child training (why put them in the same category?) 
then go to your dials, young people. Then we have the 
cultivation of the speaking voice, the political crises in 
Europe, the League of Nations, health, travelling through 
Italy, hunting big game in Africa, "dude" ranching in 
the Northwest, how to write an income tax 
return, the inner workings of the New York 
State Laws of Inheritance, Alpine climbing, 
and deep sea diving. 

Ida Bailey Allen 

Whetting the Nation's 


Our Uptown Office 

1" N order to serve its advertisers and sub- 
■*■ scribers more adequately, Radio Revue 
has opened an uptown office on the mezza- 
nine floor of the Hotel Knickerbocker, 120 
West 45 th Street, New York. The editorial 
and advertising offices will continue at Six 
Harrison Street, as at present, but the new 
uptown office will be more easily accessible. 

FEBRU ARY , 19)0 


XTATIC tccm the XtWDICX 

(Continued from page 33) 

ning period, beginning at six 
o'clock, John has been responsible 
for the reception of over 50,000 
artists and visitors come literally 
from all parts of the world. 


Genia Zielinska, the Polish colora- 
tura soprano of NBC, is a pupil of Maes- 
tro Paolo Giaquinto, organist and com- 
poser, who is a prominent member of 
the musical staff at the Cathedral of 
Saint Patrick, on Fifth Avenue. Genia 's 
favorite amusement is giving the an- 
nouncers the titles of her songs in 
Polish, such as "Wzlobie Lezy", "Gdy 
Sie Clorystus Rodzi", "Lulajze Jezuniu" 
and "Wsrod Noenel Ciszy". One an- 
nouncer, who has no sense of humor, 
suffered a nervous breakdown when he 
saw the list. 


Jeff Sparks has returned to Columbia. 
Jeff was formerly with the CBS an- 
nouncing staff, but until recently he 
had been with WMCA. He has joined 
the WABC staff in the capacity of pro- 
duction man. Columbia also has two 
new announcers: Franklin Scott and 
George Beuchler. 


Someone gave "Jolly Bill" Steinke 
a nice new alarm clock as a New 
Year's present. On January sec- 
ond this self-winding (you wind it 
yourself!) radium-faced wonder 
refused to explode at the early hour 
required for "Jolly Bill and Jane's 
Cream of Wheat Hour." Little 
Jane, who is only nine, carried on 
the entire program with her nurse, 
in Bill's absence. 


At the funeral of the late Claire 
Briggs, noted cartoonist of the Herald 
Tribune, it was noted that radio was 
well represented. Many artists and 
writers were at the simple services, and 
the organist and quartet were all prom- 

inent radio figures. Frank Croxton, ot 
the American Singers, was the bass in 
the quartet. 


G. Underbill Macy, known to the 
radio public as Hank Simmons, of 
Showboat fame on WABC, and also as 
Tony, the Wop, and Fred Tibbetts, on 
Real Folks, NBC, resigned the role of 
Hank Simmons recently. Mr. Macy 
had been playing the role for almost 
two years and had been doubling in 
numerous other parts in the Showboat 


Recent changes in the Columbia staff 
include the transfer of Bradford 
Browne, Chief Nit Wit, from announc- 
ing to continuity, where it is believed 
his genius will find a wider scope. 
"Chet" Miller is reported to have left 
the field of announcing for new pas- 


At the turn of the year, Mathilde 
Harding, well-known radio and concert 
pianiste, joined the Columbia Broad- 
casting System as assistant program di- 
rector, in charge of the Ida Bailey Allen 
broadcast and other Columbia features. 
Miss Harding also continues with her 
work as solo artiste and accompanistc. 


states, but Willie Perceval-Monger is at 
work on a beautiful competitor for this 
piece entitled: 

"Weeping for East 5 8th Street, New 
York City." 


Walter Damrosch stepped out of his 
role at the NBC recently when he sud- 
denly took a notion to play the tympani 
in a performance of Brahms's "Song of 
Fate" that was being conducted by 
George Diluvrth. The eminent edu- 
cator showed a surprising technic with 
the kettle drums. 


On a recent Columbia program 
Hawaiian tunes were featured, 
with Norman Brokenshire announc- 
ing and explaining. Toward the 
end was "He-Mana Ohe Aloha." 
At first this looked like something 
about the Hawaiian He-Man, but 
it turned out to be a native yodel. 
It seems that the Society for Lou- 
der and Better Yodelling is spread- 
ing its insidious propaganda right 
across the Pacific. 


All announcers and production 
men of the Columbia chain and 
WABC are required to dress for 
mally after six o'clock in the eve- 
ning, according to an official an- 
nouncement made recently by Jack 
Ricker, production and studio di- 
rector of the CBS. Apparently the 
fever, which started some months 
ago at the NBC, has spread. 


Someone is trying to establish a vogue 
for songs about specific localities. We 
suspect that the song pluggers have 
affiliated with the real estate boys. 
Columbia had "Crying for the Caro- 
linas". We don't know why anyone 

should cry for these two particular 


(Efte Japanese Hantern 

Delicious Food 

Home Cooked 

Popular Prices 

Banquets Luncheons 


193 Madison Avenue 
New York City 




g m S 


Not all the brilli* U i 
work on the air is done 
by the big folks. Some of 
the most enjoyable pro- 
grams are put on by 
youngsters, as radio fans 
can attest. 

This fluffy-haired young- 
ster (at left) is already a 
radio star. Although only 
six, Marjorie Jennings 

plays one of the leading 
parts in Mountainville over 
WABC. She also stars as 
the vamp in the "Our 
Gang" comedies. 

A talented little actress 
is smiling Elizabeth 
Wragge, only 12 years old 
(at right) . She plays on 
many NBC hours, among 
them the Lady Next Door, 
Milton Cross's Children's 
Hour and, formerly, Gold 
Spot Pals. 

Jean Derby (at left) 
with the long dark curls, 
is one of the Columbia 
chain's juvenile leading 
ladies. And she is only 
nine years old. She plays 
of the principal roles 
in Mountainville Sketches, 
which are presented over 
WABC every Monday eve- 
ning from the Tiny Tots 
Theatre. Little Miss Derby 
also plays in the Land of 
Make-Believe, a Sunday 
feature, over the same 

The lovely little miss at 
the right is Florence Bak- 
er, who trods the boards 
of the Barn Theatre with 
fine dramatic fervor every 
Saturday afternoon. This 
program is announced over 
Station BARN, which may 
or may not be a real sta- 
tion of the NBC chain. 
Florence will soon be thir- 
teen years old. 


These four gifted young people 
help to make the Children y s Hour 
every Sunday morning a most delight- 
ful feature. Reading from left to 
right, they are: Julian A I cm. in , vio- 
linist; Sylvia Altman, his sister, pian- 
ist; Edith De Bald, dramatic reader; 
and Mae Rich, trumpet soloist. 

F EBRU ARY , 19 3 


Program Note/ 

¥OR Offers "Moonbeams" 

From 11:30 until midnight, nightly, 
at WOR there is a program that de- 
spite its comparatively recent birth has 
achieved the distinction of being one of 
the most beautiful and melodious on the 
air. It is called ""Moonbeams", a con- 
tinuity written by Arthur O. Bryan, 
one of the Bamberger station's young- 
est announcers; that is, in point of ser- 
vice. ^ 

In addition to Mr. Bryan, credit is 
due to George Shackley, who arranges 
and directs the music, Rhoda Arnold, 
first soprano; Annette Simpson, second 
soprano; Veronica Wiggins, contralto, 
and the two house instrumentalists, 
Samuel Kissel, violinist, and Albert 
Wohl, 'cellist, who, with Mr. Shackley 
at the celeste and vibraphone, provide 
the music. 

▲ ▲ ▲ 

Ward Tip Top Club on Air 
The first of a series of radio programs 
over WABC and the CBS was heard re- 
cently when the Ward Tip Top Club 
carried the radio audience on a visit to 
Old Mother Hubbard. The program, 
written by Georgia Backus and Don 
Clark, revolves about the efforts of the 
various members of the club to enter- 
tain the hostess and her friends. It in- 
troduces specialty numbers, popular and 
classical music and old familiar melodies. 

▲ ▲ A 

Archbishop Leighton on CBS 

The Most Reverend Arthur Edward 
Leighton, D. D., Metropolitan Arch- 
bishop and Primate of the Episcopal 
Catholic Church, announces an exten- 
sive lecture series to be broadcast over 
WABC and the CBS early this Spring. 


NBC Offers "Penrod" Series 

Radio has joined the stage and screen 
in presenting the works of Booth Tar- 
kington. "Penrod," the Hoosier au- 
thor's ever-amusing novel of boyhood, 
is being presented in a series of drama- 
tizations by Julian Street, Jr., over the 
NBC System, Sunday evenings, at 9:15 
o'clock (E. S. T.). 

Street, a member of the NBC con- 
tinuity staff, follows in the footsteps 
of his author-playwright father, who 
collaborated with Mr. Tarkington in the 
writing of the Broadway play, "The 
Country Cousin." The younger Street 

is the author of some of the sketches of 
New York life heard in the program, 
"Rapid Transit," and of the dramatiza- 
tions, "Golden Legends," produced by 
the NBC on the Pacific Coast during 
the past summer. By special permission 
of the author and his publishers, Double- 
day' Doran & Co., this presentation is 
heard for the first time over the NBC 

Mildred Hunt Back on Air 

Mildred Hunt, one of radio's earliest 
contralto crooners, recently renewed 
her acquaintance with the microphone 
following an absence of six months, in 
a new program called Broadcasting 
Broadway, on WEAF. 

Hits from Broadway musical com- 
edies and light operas, both past and 
present, are included in the program, 
which goes through a wide network of 
NBC stations each Friday night from 
9:30 to 10 o'clock (Eastern Standard 

Co-starring with Miss Hunt in her 
new radio vehicle is a galaxy of broad- 
casting celebrities, including Erva Giles, 
soprano, Robert Simmons, tenor, and a 
concert orchestra under the direction 
of Harold Sanford. 

During her absence from the mi- 
crophone Miss Hunt toured the R-K-O 
circuit from coast to coast. 


New Publix Hour on CBS 

The first nationwide radio program to 
originate in Brooklyn, N. Y., was broad- 
cast over WABC and the CBS directly 
from the stage of the Paramount The- 
atre there, on Tuesday night, January 
14, at eleven-thirty o'clock. This per- 
formance inaugurated a long series of 
unusual and highly entertaining pro- 
grams to go on the air every Tuesday 
night at the same time. 

Each presentation lasts thirty minutes 
and is under the personal direction of 
Louis A. Witten, pioneer radio an- 
nouncer, who acts as master of cere- 
monies. The series is known as the 
"Publix Radio-vue" Hour. 

The regular features heard from this 
point of broadcasting each week in- 
clude: Paul Ash's twenty-piece hand- 
picked band; Bob West, Paramount Or- 
ganist; Elsie Thompson, the "singing 
organist"; and the Publix gala stage 

"Home Banquet" on Air 

Again radio offers "something dif- 
ferent." This time it is a new series 
of programs, inaugurated on Monday 
evening, January 20, at 6:3 o'clock, 
eastern standard time, and known as 
the American Home Banquet. Spon- 
sored by the American Radiator Com- 
pany, the new series is broadcast 
through an NBC network. 

The first departure from precedent 
in the new series is that, instead of 
weekly presentations, the Home Ban- 
quets are heard for a half hour every 
night excepting Saturday and Sunday. 
This alone places the sponsor at the 
head of the list of buyers of eyening 
broadcasting time for, in addition to 
the two and a half hours a week de- 
voted to the new feature, the same or- 
ganization, in association with the 
Standard Sanitary Mfg. Company, 
sponsors the radio adaptations of the 
Puccini operas, heard once a month. 

The program itself is designed as a 
"banquet"' for radio listeners every- 
where. The continuity and music are 
designed to create the illusion that the 
listener is actually at the banquet. 
Radio re-incarnations of famous per- 
sonages, brought to the banquet table 
on their birthdays, will be a feature of 
the programs. Vocal and instrumental 
offerings by widely known radio artists 
will be woven into the program. 


4 -4 



grand opera 








Enrique Madriguera 

Master of Jazz and the Classics 

NOT many years ago in beautiful, romantic Spain there 
lived a little dark-eyed, dark-haired boy of seven, who 
wanted a violin for Christmas above all things. In Spain, 
"The Magic King" comes at Christmas, instead of Santa 
Claus, and distributes presents. 

So little Enrique Madriguera wrote two urgent letters 
to "The Magic King," asking for a violin and promising 
to be so good in return. However, his father expressed 

doubts as to whether 
"The Magic King" 
would bring so small 
a boy a violin. 

As Christmas day 
dawned, little En- 
rique awoke early, 
as is the custom of 
children the world 
over, and hurried 
out to the balcony 
where the gifts were 
always left. He 
looked anxiously, 
but to his bitter dis- 
appointment, there 
was no violin. 
Glancing across at 
the balcony of his 
little friend and 
neighbor, which ad- 
joined his, he saw a 
violin. How he 
wanted that violin! And among his own presents he 
noticed a train of cars, which he knew was one of the 
gifts his little friend had ordered when addressing his 
wants to "The Magic King." Why, of course, he reasoned, 
it was plain enough — just an error on the part of the 
busy "Magic King," what with the balconies so closely 

With a view to righting the error, he took the train of 
cars, slipped over to the other balcony, left the cars there 
and came back bearing the violin. His family was gen- 
uinely surprised to learn "The Magic King" had brought 
Enrique a violin! 

As he grew older, his love for the violin increased. 
When he was seventeen, a friend, appreciating his talent, 
suggested that he go to London to purchase a good violin. 
There, while all London was celebrating the Armistice 
with mad revelry, the music-loving Spanish youth was 
in his hotel room, trying out the different violins which 
the tradesmen had brought him. The one he chose cost 
$10,000. Nothing daunted, the friend purchased it for 
him, and it is the one he now uses. Since then, Enrique 
has studied under such masters as Leopold Auer and Joan 

Although his work takes him away from his native 
Spain, he always spends some time there each summer, and 
visits his birthplace, Barcelona, every year. 

Enrique Madriguera 

He has been eminently successful in his chosen profes- 
sion. His concert tours of Europe have won him fame 
as a concert violinist, while in America, he has gained 
wide popularity, due to the essentially American quality 
of his jazz. It is unusual for a concert violinist and a 
foreigner to have captured the spirit of American dance 
rhythm so thoroughly as to place him in the front ranks 
of orchestra directors of popular music. 

In addition to being an artist in two distinct fields, 
Mr. Madriguera is an able business man. He recently left 
the NBC to become musical director of the Export De- 
partment of the Columbia Phonograph Company. 

He can be heard on the air every Monday evening from 
9:30 to 10 as a soloist on the "Evening in Paris" Hour 
on WABC. 

Madriguera's interest seems to lie principally in group- 
ing unusual orchestral combinations for phonograph re- 
cording and radio programs. His orchestras feature au- 
thentic Spanish tangos, oriental and Moorish airs, African 
rhythms and Gypsy Sevillian folk lore. "All of this takes 
time," he says, "and much of the work I do during my 
annual visits to Europe and the Orient. 

Rector Again Points Way 
to Epicurean Delights 

(Continued from page 20) 

It might not be far from the truth to say that George 
Rector was born in a restaurant. Certainly as the son of 
the famous Charles, who was called the man who had run 
an oyster stew into a million, George in his youth was 
never far removed from one, and at an early age he went 
into business with his father. Then, as is ever the way 
with sons, he grew weary of following in father's footsteps 
and burned with the desire to make his own footprints in 
the sands of time. So he set up good-restauranting in a 
shining palace of his own, nicknamed "Young Rector's 

According to the ex-host to pleasure-hunters of our 
parent's past, the guests arrived in broughams, always in 
jovial mood, even though dignified and in full dress — white 
gloves for the gentlemen, if you please, trains for the ladies 
and plenty of hair and hat-pins. 

Slipper as a Loving Cup 

On New Year's Eve at the witching hour they used a 
lady's slipper as a loving cup and drank toasts to their best 
girls while the orchestra played "Hot Time in the Old 
Town". The lights went out and everybody kissed every- 

"The ladies like soft lights," reminisced Mr. Rector. "So 
the bulbs in the crystal chandeliers were rose-colored in 
summer and amber in winter. The napkins we used were 
a whole yard square and none too large at that for folks 
who ate everything on the menu from caviar to nuts, with 
hearty gusto. Dieting was not popular in an age when 
curves were symbols of feminine health and beauty." 

George Rector is up to his old tricks again — raising 
cooking from the field of science into the realms of art and 
romance. Once he catered to the epicurean elite in his own 
cuisine. Now his sphere is unlimited. He makes the humble 
art seem a bigger and better thing to radio's countless 
millions . 

F EBRU ARY , 19 3 




Thank You, Mr. Geddes! 

To the Editor of Radio Revue: 

Accept my congratulations on the very interesting mag- 
azine you have launched. I have often thought there 
should be a big field for a magazine of this type and wish 
you all success. I am enclosing my check for a year's sub- 
scription. — Bond Geddes, Executive Vice President, Radio 
Manufacturers Association, Inc., New York, N. Y. 


Impressed by Authenticity 

To the Editor of Radio Revue: 

I finally found time to give your 
initial issue a pretty thorough and 
very interested reading last night. 
It should be very interesting to the 
great number of people who take 
their radio listening at all seriously, 
and it is really very valuable to 
anyone who makes use of radio 
broadcasting in business. 

I think the thing that impressed 
me most was the apparent authen- 
ticity of all the information con- 
tained in it. While its primary 
function is, no doubt, entertain- 
ment, I could not help feeling that 
it probably contained a greater 
amount of actual fact than a great 
many of our trade papers do. — Fred 
H. Strayer, Sales Manager, Sylvania 
Products Company, Emporium, Pa. 


Exactly What She Has Wanted 

To the Editor of Radio Revue: 

I just happened to pick up your Radio Revue from the 
newsstand while waiting for a train and, as it is exactly 
the kind of a radio magazine I have been looking for for 
the past three or four years, it did not take me long to buy 
a copy. My family cares nothing for the technical radio 
magazines and, until I discovered your Radio Revue yes- 
terday, that was about all I could find. 

Your first number certainly is good and, if the numbers 
to come contain as much of general interest, I am sure you 
will be successful. Enclosed is my check for $2 for a 
year's subscription, beginning with the next issue. 

Mrs. R. H. M., Coldwater, N. Y. 


Broadcasting in Early Days 

To the Editor of Radio Revue: 

I was delighted with the first issue of your publication. 

The first thing I thought was: "Why didn't someone think 
of this long ago," because, of course, everyone not only 
likes to hear the gossip and personal bits about the artists, 
but also likes to know what they look like. The magazine 
compares favorably with our movie magazines, and I am 
certain it will meet with tremendous favor and will have 
an enormous circulation. 

I have been showing my copy to everyone who comes in 
and they have immediately said: "Oh, I must get this. It's 
great!" Two people took it home to show the rest of the 
family. When my husband saw it, he said to be sure to 
keep every copy and, as the various entertainers appear, 
look them up in the magazine, to see what they look like. 
My great regret is that I am not among the artists who 
will be featured on its pages. Miss 
Trenholm's article mentioned the 
WJZ studio in the Westinghouse 
plant at Newark and reminded me 
that those were my broadcasting 
days. They sent a Pierce Arrow lim- 
ousine from Newark for me (I 
haven't been in one since) and my 
husband, my accompaniste and her 
brother went with me and I gave a 
half-hour program of contralto 
solos. I was preceded by a reader, 
who gave "Salome," and we were 
all in the one room, working and 
waiting. The reader took twenty- 
five minutes longer than she should 
have and I couldn't even clear my 
throat for fear of being heard on 
the air, so I just kept on drinking 
water — being able to do that noise- 
lessly. Those were the days! 

Then, again, when they moved to 
a little room on the top of the Waldorf-Astoria, in 
New York. It was so far up that we went as far 
as the elevator would take us and, with bated breath, 
climbed some winding iron stairs to a dusty hallway and 
thence to the studio. That time I followed a talk on dogs 
and my husband and friends assured me that I barked very 
descriptively many times, both like a fox terrier and a 
Saint Bernard. Well, that's enough of that chatter. Tell 
us some time who "Cheerio" is, will you? The best of luck 
to you in your new venture. — Mrs. D. K., Brooklyn, N. Y. 


Wants Jessica Pictured in Costume 

To the Editor of Radio Revue: 

Enclosed please find 2 5 cents in stamps for a copy of 

your Radio Revue for December. I couldn't get another 

copy on the stands — and someone walked off with Jessica 

Dragonette's picture out of the one I have. Will you see 

(Continued on page 45) 




Caeic in the Hcme 

Edited by Mrs. Julian Heath 

Pioneer Broadcaster of Market Reports and Daily Menus 

Hello, Neighbors! 

Radio programs are now designed to please not only the 
woman in the home, but every member of the family. 
However, it was the man of the house who first discovered 
radio as a family pastime. Would he let his wife touch the 
precious instrument in the early days when he was away 
from home? No; only he could turn the dials, and turn 
them he did, for in those days, which now seem to have 
been back in the dark ages, the family was compelled to 
submit to all kinds of squeaks and squeals while father 
was trying to tune in a station. In those days mother 
invariably said that "the radio is only for father's amuse- 
ment" and something to the effect that she dreaded his 
homecoming because she knew he would immediately rush 
to the radio and thereafter would be impossible of ap- 

But nowadays, in most well-regulated families, the radio 
is a definite factor in the home life, and the artists who 
appear before the microphone are many times unwittingly 
adopted into the family circle. The artists who speak 
over the radio have, perhaps, a greater entree into the 
average home than have the musical broadcasters. The 
former come to know the various members of their 
listeners' families and share their joys and sorrows. 

We, who broadcast ro the women in the home, get a 
perfect composite picture of American home life. Indeed, 
with the knowledge of this home life as we see it, on; 
cannot say there is no longer any home life in this 


In many respects the radio has supplanted the huge 
library, with the inevitable reading lamp, around which 
the family used to gather for the evening. But wasn't 
the light dim and weren't the evenings long ! Everyone 
seemed to be glad when father said it was "time for bed", 
and mother set aside her sewing. 

Now we have evenings of entertainment — the very best 
obtainable — and programs that please everybody. Radio 
gives us our "daily dozen", gets us off on "the eight- 
fifteen" and put us to bed with "slumber music" — truly 
a day of service. Another way this service is used is out- 
lined in a recent letter from a neighbor: 

"Perhaps you would like to know how I arrange my house- 
work and my radio listening. Each evening I mark the pro- 
grams to which I want to listen the next day, and then I 
arrange my housework so as to be near my radio set when there 
are talking features and in the other rooms when the musical 
programs are on. I always have a basket of mending and a pad 
and pencil on my table by the radio while you are broadcasting. 
When you give a recipe I lay aside my -work and write it 
down, and then I pick up my sewing again and listen. In 
this way there are no complaints of undarned socks, because 
they are darned by radio and are always done." 


Isn't this letter truly a reflection of how radio has 

lightened the burden of housework? Another angle of the 
intimate atmosphere that radio creates concerns the fam- 
ily pets. We have become well acquainted with the pets 
of many families and some day I will tell you how they, 
too, listen in. My dog, Jane, has been known to the 
WJZ audience for many years. If you have a family pet 
you will enjoy this letter from a listener: 

"I enjoyed your two chats today and I surely had to smile 
at one of your concluding remarks. You spoke of Jane some- 
times sitting close to you at the table and you remarked that 
this was not good manners. I must tell you of our dog's 
behavior at the table. 

"My husband, myself and my Maltese poodle, Sonny, consti- 
tute the family. As we are both very fond of Sonny, you can 
imagine that he is somewhat spoiled. He has his own chair 
at the table, and is always the first to be seated. He always 
has a napkin, a plate of his own and is fed every piece of his 
meat. He will seldom eat anything if his plate is placed on 
the floor. If I give him anything in the kitchen, he runs to 
his pillow in the dining room to eat it. 

"I have some friends who are very fond of him, too, and he 
invariably gets his own chair at their homes. 'Love lne, love 
my dog', is my motto. But no one has to try very hard to 
like Sonny, because he is very lovable. He eats an ice cream 
cone every night before he goes to bed. He never fails to 
listen to Slumber Music on WJZ, and then he has his last 
walk and his ice cream cone." 


Truly, radio is a factor in home life — and a big factor, 
too. Having been confined to my home for more than a 
month, as the result of sustaining a broken limb, I have 
come to appreciate the value of radio to an even greater 
extent than I did before and now realize more vividly 
what a Godsend it must be to those who are permanently 
confined. My unfortunate indisposition has made it impos- 
sible this month for me to continue my series of artists' 
favorite recipes, but I hope to resume them in our next 

Prize Letter 
Contest Extended 

A number of our readers have asked for more time 
to compose their letters on the subject Who is Your 
Favorite Radio Artist — and Why? They say this 
subject requires much thought and consideration. 

Therefore, the editors of Radio Revue have de- 
cided to extend this contest for a month. This gives 
new readers a chance to enter. The awards are ten 
dollars for the best letter and five dollars for the 
second choice. 

Rudy Vallee and Jessica Dragonette are leading so 
far. Who is your favorite? 


Six Harrison Street, New York, N. Y. 

F EBRU ARY , 19 3 





// these aristocrats of the poultry yard 
could talk they could tell you the 
names of their great -great -grand- 

Pridefully they could point to the silver 
cups and blue ribbons won by their mothers in 
egg-laying contests. 

For a PEP hen is bred as carefully as a racehorse. 

Those ambitious birds who wish to enter the breeding pens must 
first build up an egg-laying record; because only hens that lay heavily 
— and lay perfect eggs — are permitted to give hostages to fortune, in 
the form of the lovely puff-balls that are baby chicks. 

This feathered aristocracy wears costume jewelry, too — colored 
enamel leg-bands, bearing an identifying number. Baby chicks are 
banded as soon as they are hatched. 

PEP producers, you see, know their hens. 

PEP eggs, the final product resulting from all the aforesaid array 
of ancestry, cannot, of course, travel through to the consumer without 
an appropriate name-plate. In the retail stores, you will often find the 
thirty-dozen cases bearing the PEP emblem, 
tailers want these quality eggs packed in 
attractive blue-and-white cartons. In other 

you will notice that each egg bears a neat little stamp — "PEP" or 
"SUNRISE" — two symbols of egg fineness. 

PEP's o 

w n 


Pacific Egg Producers 






Seattle, Los Angeles, San Diego, Detroit, Pittsburgh, 
Panama, Buenos Aires, Valparaiso, Lima, London, and Glasgow 



The Announcer Speaks 
for Himself 

Marley Sherris 

LADIES and Gentlemen of the radio audience: 
This is Marley Sherris, of the NBC, speaking. I 
have been announcing programs for the past three 
years. I joined the forces of WJZ at their former studios 
on West 42nd Street, New York. For years I had been in 
concert work, travelling throughout the United States, 
Canada and England. On one of my tours I was engaged 

as a soloist to open 
the Canadian Na- 
tional Railways 
broadcasting station 
at Ottawa, Canada. 
After my perform- 
ance there I realized 
that this was a field 
in which an artist, 
giving a single radio 
performance, could 
be heard by more 
people than he could 
; possibly reach in a 
f^* ! year of personal ap- 

^L J pearances. 

^L ^W This thought kept 

^k recurring to me, al- 

^L ^^^^ though i: was al- 

^L most t w o years 

^ ^B |^ Luer that I settled 

^L Jfl in New York and 

an opportunity pre- 
Marley R. Sherris sented itself t0 be _ 

come identified with 
WJZ. After I had met Keith McLeod, who was at that 
time studio manager of WJZ, he asked me one day if I 
would be interested in a position as announcer. I told 
him I would, so he gave me a voice test. After the test, 
Mr. McLeod assigned me to one of the large commercial 
accounts on WJZ to announce as my first program and 
final test. The next morning I was called in, was intro- 
duced to officials of the station and was put on the an- 
nouncing staff. 

Musical Training Needed 

I believe that musical training is one of the most im- 
portant requisites for radio announcing. It not only im- 
proves the speaking voice, but it gives the announcer an 
insight and knowledge that is essential to announcing all 
types of musical programs. 

In my first few broadcasts the absence of immediate 
response from the audience gave me a rather "lost" feel- 
ing but, of course, three years before the "mike" have 
caused me to respect this little steel disc as an instrument 
that brings me in close touch with countless listeners. I 
thoroughly enjoy reading the mail response, as it is the 

one way I have of knowing the reactions of the unseen 

At present I am on the following programs: National 
Youths' Conference, Dr. Poling, WJZ, Sunday, 3 to 4 
P. M. ; National Religious Service, Dr. Fosdick, WJZ, 
Sunday, 5:30 to 6:30 P. M.; Midweek Hymn Sing, WEAF, 
Thursday, 7 to 7:30 P. M.; Edison program, WJZ, Mon- 
day, 9 to 9:30 P. M.; Calsodent talk, WJZ, Tuesday, 8 
to 8:15 A. M. I also sing bass in the famous Armchair 
Quartet, which is on WJZ at 11:45 to 12 P. M. every 
Sunday. I also sing with the Balladeers on Sunday morn- 

I have just built a new home at Hastings-on-the-Hud- 
son. My hobby is driving a car, any place, any time, 
any car — but, of course, it must be in my spare time when 
I am not singing, announcing or attending to my duties 
as evening program representative. 

Taught Self to Play Banjo — Roy Smeck 
Now Teaches Thousands 

{Continued from page 16) 

the criticisms in fourteen cities, lost out in the star's home 
town and, in the sixteenth, the one newspaper burned to 
the ground on the first night he appeared. 

After that engagement, he signed up with a revue. 
Friends said that he was killing himself professionally, but 
no amount of argument could move him. He grins about 
it now. The friends realized the reason on his return, how- 
ever. He had married the star, and he has "stayed married." 

While it is traditional with the Pennsylvania Dutch to 
"stay married," the writer happens to know that the 
couple's marital state would have endured without the 
tradition, since the two are exceptionally happy. And to 
add to its stability, this scribe can attest to the fact that 
his mother-in-law is his greatest booster. 

Has Many Recording Contracts 

In the phonograph cabinet in the living room of his home 
in the exclusive West End district are a hundred or more 
records which he has made. There will be hundreds more 
as he has contracts for at least ten years. 

This income, plus that of his radio engagements, enables 
him to live in a style that is far removed from his shoe 
factory days. Other royalties come in from the sale of his 
music books, which are very popular because they were 
written for those who cannot afford to take lessons. 

It was the knowledge of the vicissitudes of the moneyless 
pupil that furnished the motive for putting his "lessons" 
on the air, not only for the ukulele, but for the banjo and 
guitar as well. 

The writer once had the privilege of listening to and 
seeing a Vitaphone performance of Mr. Smeck. Later in 
the evening, he made a personal appearance. It goes without 
saying that he stopped the show. The applause was up- 
roarious and prolonged. 

In his radio classes, Mr. Smeck has had as many as 1,600 
pupils. All of them received personal instruction by fol- 
lowing him through his music books. 

It is very true that string music is indeed his vocation, 
but the strange part of it is that it also represents his 

"My one aversion," he said, "is eggs — eggs in any style — 
and I had to learn to play so that I wouldn't get them in 
the raw state on the stage." 

FEBRU ARY , 19 3 


Andy Sannella a Real Miracle Man of 

(Continued from page 12) 
such a lot of him to look at but, as a feminine acquaint- 
ance put it, "what there is, is worth looking at a lot." 
They know that his small form is always encased in a 
natty suit and that he has expressive' brown eyes. 

All these things the musicians know. They also appre- 
ciate, as much as, if not more than, the radio audience, the 
musical ability that has made it possible for Sannella to 
be heard six or eight times a week throughout the nation. 

The artist was born in Brooklyn, N. Y., on March 11, 
1900. When he was seven years old he began the study 
of music that has resulted in his reputation today as one 
of the outstanding interpreters of modern melody. He 
started to study the violin at the age of ten. After four 
years of study he decided he wanted to play the banjo. 
This instrument came natural to him. In his youth, San- 
nella augmented his music lessons by regular perform- 
ances in several church and school orchestras. 

Joins Army and Then Navy 

When he was seventeen he joined the Army. Because 
he was under age, his mother pulled strings through the 
customary tangle of red tape and had him discharged. 
Not discouraged, young Andy next bobbed up in the 
United States Navy. This time his mother decided to let 
well enough alone and her son remained in that branch 
of the service for three years. A majority of that period 
was spent aboard submarines. During the long days and 
nights aboard the "subs" Andy amused his mates with his 
guitar. Incidentally he obtained a lot of practice. What 
followed his discharge from the Navy has already been 

In 1927 this young "miracle man of music" played in 
16 weekly radio programs, most of them going through 
extensive networks of stations. In 192 8 he directed the 
orchestra for the Interwoven Entertainers, the Halsey 
Stuart program and the Sylvestre broadcasts. 

His present weekly schedule gives him only two nights 
a week away from the radio studios. On Monday he di- 
rects the orchestra in the Empire Builders program; on 
Wednesday he is heard regularly as a soloist with the 
Palmolive group, and as director of the Halsey Stuart or- 
chestra; on Thursday he waves his baton before the Smith 
Brothers musical aggregation; on Friday he may be heard 
with the Armstrong Quakers; while on Saturday he ap- 
pears on the Lucky Strike program. 

Have You a Little Nit Wit in Your Home? 

(Continued from page 15) 
The Nebraska Cornhuskers played the Center College pray- 
ing Colonels. The Cornhuskers started in early to husk the 
colonels, each cornhusker grabbing an ear. The Corn- 
huskers stalked through the Colonels' line, and soon things 
were popping. It turned out to be an ear for an ear and 
a tooth for a tooth, those having false teeth finding the 
colonels a bit tough. However, after several court martials 
the colonels were reduced to lance corporals and the band 
played the husking bee. Final score, if any — found in to- 
morrow's paper. And that completes our resume of to- 
day's football games." 

New Meteor Flashes Across "Blue Heaven" 

(Continued from page 31) 
country gravitates to the Great White Way, where it 
passes through the melting pot and emerges, a finished 
product, to fill the terpsichorean wants of a restless nation. 

Bert's orchestral enterprises have grown to such propor- 
tions that they begin to resemble the chain store systems in 
quantity turnover. And it has all been accomplished with 
an unobtrusiveness that is refreshing along Broadway. 

Bert has turned musical notes into bank notes with sur- 
prising celerity, due chiefly to his ability to satisfy the 
primal urge, for rhythm of a syncopated sort, that exists 
in the gilded whoopee palaces, at society revels, collegiate 
hops, metropolitan hotel gaieties, country and yacht club 
festivities, resort entertainments and night club and 
theatrical gatherings. 

Starting with his high school days, when he had an 
orchestra that played on the Chautauqua circuit, Bert has 
compiled an imposing list of orchestra contracts. These 
include recording contracts with Columbia, Brunswick 
and Victor, the discovery and exploitation of Rudy Vallee, 
Tommy Cline and Jack Carney — hailed as a second Vallee 
— numerous radio broadcasting engagements and a con- 
tract for recorded radio programs with the Biltmore Hotel 
Orchestra and a new vocalist who promises to be a sensa- 
tional success. Bert also has to his credit the largest steam- 
ship contract ever given to any one organization in the 
music business — that to provide music for the Munson 
Line and all the United States Line boats. 

Bert's ultimate ambition, as confided in his own words, 
is "A million dollars — and no encores." 

Carson Robison 



to his Radio 

friends the 



of the 




WEST 45th ST. 






Best Selling Popular Songs of the Month 

WHEREAS last month there was a decline as com- 
pared with the previous month in the number of 
theme songs listed in The Big Ten, this month 
shows that the country has again gone "theme-song" with 
a vengeance. Every one of the ten best selling popular songs 
listed below is a theme song from a talking picture. This 
condition is not likely soon to change, because the theme 
songs have a tremendous advantage in the sustained na- 
tionwide "plug" they receive through the medium of the 
sound pictures. 

During the past month, as compared with the previous 
month, I'm a Dreamer; Aren't We All? has moved from 
ninth place to the top of the list, supplanting Tiptoe 
Through the Tulips. A Little Kiss Each Morning, from 
Rudy Vallee's picture, The Vagabond Lover, has advanced 
from tenth to fourth place. 

A notable feature is that such big sellers as Siugin' in the 
Rain, Love Me and My Fate is in Your Hands have dropped 
out of the first ten and have been displaced by The Chant 
of the Jungle, Singing in the Bathtub and You're Always in 
M)' Arms. 

1. I'm a Dreamer; Aren't We All? 

from Sunny Side Up (De Sylva, Brown & 

2. Tiptoe Through the Tupils 

from Gold Diggers of Broadway (M. Wit- 
mark & Sons) 

3. If I Had a Talking Picture of You 

from Sunny Side Up (De Sylva, Brown & 

4. A Little Kiss Each Morning 

from The Vagabond Lover (Harms, Inc.) 

5. Painting the Clouds with Sunshine 

from Gold Diggers of Broadway (M. Wit- 
mark & Sons) 

6. The Chant of the Jungle 

from Untamed (Robbins Music Corporation) 

7. Love 

from The Trespasser (Irving Berlin, Inc.) 

8. Singing in the Bathtub 

from The Show 1 of Shows (M. Witmark & 

9. You're Always in My Arms 

from Rio Rita (Leo Feist, Inc.) 

10. My Sweeter than Sweet 

from Siveetie (Famous Music Company) 

It will be noticed that, beginning this month, we have in- 
cluded the names of the publishers of these songs. If there 
is any further information our readers desire about the 
popular songs they hear over the radio — who wrote them, 
who publishes them, where they can be obtained or in what 
pictures they appear, etc., — RADIO REVUE will gladly 
answer all such questions. Merely write Popular Song Edi- 
tor, RADIO REVUE, Six Harrison Street, New York, N. 
Y. Enclose a stamped, self-addressed envelope if you desire 
a direct reply. 

1 A Typical Radio 
1 Week 


I'M a plain radio listener — very plain. I hope tele- 
vision never works both ways. You know what I 
mean. If the Lucky Strike Orchestra should ever 
see me — well, they'd strike, that's all. But no one gets 
more pleasure out of a radio than I do. Where I am 
located I cannot get the Columbia chain program, so my 
listening is, of necessity, all done via NBC. 

To me, Monday is a red letter night. Starting with the 
Black and Gold Orchestra, then the Voice of Firestone, 
the A. & P. Gypsies, and ending with the General Motors 
Family Party, you have an evening to rave about. I am 
so interested in the A. (3 P. Gypsies that I even listen to 
Milton Cross tell what they sell in those stores. As some- 
body has said: "Any sons-o'-guns who don't buy in the 
A. & P. don't deserve to hear such a fine program." When 
I hear the General Motors program I'm so glad I have a 
Buick. If the program is especially good, I wish my car 
were a Cadillac. 

Tuesday night — I don't know what psychology it is, 
mob or sob, but I don't care so much for Tuesday nights 
on the air. I wish some one would explain about that 
evening's programs. I flicker across the dial and find 
talking, talking everywhere. As I don't care for dialects, 
negroid or tabloid, I shut off my radio and read a book. 
But think of the thousands who love those "talkies!" 

Palmolive Hour a High Light 

The high light of Wednesday night is the Palmolive 
Hour. The program is so varied and beautiful that I 
marvel at that stereotyped "full of love and romance" 
prelude that goes on the air every week in the year. Page 
Carlin and tell him to change it, say, every other Wednes- 
day night. Olive Palmer's bird-like voice is a gift to a 
listening world. The duets with the contralto are beauti- 
ful. I wish the announcer would tell us who the con- 
tralto is. 

I do not always hear the Thursday night programs for 
various reasons, mostly personal and social ones. 

The Philco Hour of Theatre Memories was something I 
always looked forward to on Friday night. My particular 
favorite was Jessica Dragonette. When you think that 
an opera was staged right before your ears, and you could 
a'r^ost hear the curtain go down, that's some radio hour! 

Seme one, who saw a picture of the Old Stager in the 
Radio Revue for December, said: "I didn't picture him 
like that." I know; she thought he'd look like Santa 
Claus — with real whiskers. 

Walter Damrosch's golden voice makes the General 
Electric Hour delightful on Saturday night. When I 
hear him tell of the "lovely melody" and "dancing elves 
in fragrant, moonlit gardens," I don't care whether it 
is Bach or Beethoven, Rimsky-Korsakoff or Rachmaninoff, 
I know it must be good, because he says so. 

Of course, there are some abominations on the radio — 
too much advertising for one thing and the inane asides 

F EBRU ARY , 19 3 


of Roxy and his gang for another. Stage asides by O'Neill 
are permissible, but it is not considered good form to talk 
personalities before a disinterested audience. We, the un- 
seen listeners, often feel like eavesdroppers, and an un- 
pleasant feeling it is, too. It may be funny in the studio, 
but it is stupid on the air. Rudy Vallee and Graham have 
been at it lately. If we must have Rudy, let him croon 
"Just You, Just Me" or some other banality, and then we 
can snap out of it. 

Then, there are the dance orchestras. Gone is the 
ancient prejudice that seems to apply to many things 
excepting dance orchestras. I wish some of the leaders 
would reach for a new dance folio, instead of an antique. 
Maybe Singing in the Rain or even Tiptoe Through the 
Tulips might be as interesting as glorifying Raggedy Ann 
or the Wooden Soldiers. 

But, taking it all in all, as I sit before my honest-to- 
goodness wood fire on Sunday afternoon and, if I feel 
religious, hear spirited sermons, or, if in a lighter mood, 
listen to the National Light Opera, or look forward to the 
evening, with David Lawrence's clear-cut facts and the 
Atwater Kent Hour, I think: what a week of splendid 
entertainment I have had at very little cost. Unlike Cor- 
nelia Otis Skinner's "Get a horse, Mr. Filkins, get a horse," 
I say: "Get a radio, Mr. Citizen, get a radio." 

Listeners' Forum 

{Continued from page 39) 
to it that the magazine is carefully sent, so as not to harm 
this picture, as I want to frame it. 

I should also like to know whether it would be possible 
for you to print a picture of Jessica in costume, showing 
her in the role of some one of the characters she has por- 
trayed for us so vividly. I should like to see her as Con- 
trary Mary in Babes in Toyland, which she did for Christ- 
mas this year. Since this was the third Christmas we have 
heard her do it, we have come to associate our Christmas 
with Jessica. 

If it is not possible to print her picture in this costume, 
then any one of her countless other roles will satisfy us: 
Sylvia in Sweethearts, Naughty Marietta, Mile. Modiste, 
Zorika in Gypsy Love, The Pink Lady, Eileen, The Merry 
Widow, The Chocolate Soldier — any one. 

There are so many things, too, that we should like to 
hear Jessica's reaction to. For instance, which of her char- 
acters she likes best. I suppose she is the only prima donna 
who has played them all. Also, which was the more thrill- 
ing experience — to have sung to Commander Byrd from 
the stage of the Neighborhood Playhouse at the gala per- 
formance in his honor, or to broadcast to him at the South 
Pole from New York. — A. C. W., Merion, Pa. 


Vaughn Likes Rudy's Simplicity 

My compliments to Dale Wimbrow and Martin Hansen 
for their exposition on Citizen Rudy Vallee. I agree with 
both boys — and that's a lot, for there never was a person 
less given to hero worship than myself! I liked the sim- 
plicity and nonchalance of Rudy's work long before his 
ability won recognition. When the rush started I was less 
enthusiastic but, after I saw "The Vagabond Lover," I was 
impressed with his sincerity and I commend him for it. 

Vaughn de Leath. 



The Ascot 

40 W. 5 6th ST. 


Club Luncheon 75 c. 

Table d'Hote Dinner $1.25 

Sunday Dinner 5 to 8 

Appetizing Menus 

Immediate Service For 
The Busy Person 

Arrangements Made for 

Luncheons, Bridge Teas 

Dinner Parties 

Reasonably Priced 

Circle 4075 

Radio Counsellors, Inc. 

1 1 West 42nd St. New York City 

Chickering 6453 

A Radio Program Service Bureau 

Producers of 

"Mr. & Mrs." 

"American School of The Air" 

"Fires of Men" 

Production Manager 

Organized and equipped to plan, build and 
produce programs combining enter- 
tainment and distinction, artistic 
merit and logical relation to 
client's product. 

Studios for Auditions and Program 

The Itinerant I 
s Listener 


& "He Tunes In and Reports at Random" 

Philco Gives Excellent Show 

TRUE to the tradition it had set for over two years 
on WJZ, the Philco Hour in its premiere on WABC 
and the Columbia chain gave an excellent show. 
There was ever present the hand of that master radio 
showman, Henry M. Neely, the "old Stager." 

The program consisted of the first radio presentation of 
an original musical episode by Jerome Kern, entitled Lamp- 
light Originally performed some years ago in one of the 
Lambs' Gambols, it has not been heard since. More's the 
pity — since it is the nearest thing to the ideal radio oper- 
etta that I have ever heard, with the possible exception of 
Sir Arthur Sullivan's Cox and Box. 

While the musical score had much of the dainty charm 
that is Jerome Kern, it revealed the composer of Sweet 
Adeline, Showboat and a score of other musical successes in 
a much different light, as the creator of deeper moods 
and melodies that were decidedly of the calibre of grand 
opera. The orchestration glowed with a wealth of warmth 
and color. 

The program opened with the singing of Philco's familiar 
signature song, Mem'ries, by Lois Bennett, new soprano 
star of the Hour. A comparison of Miss Bennett's rendi- 
tion of this song with that of Philco's erstwhile prima 
donna, Jessica Dragonette, seems inevitable. Unfortunate- 
ly, in this case I do not feel that Miss Bennett carried off 
the honors. Some allowance must be made, of course, for 
first-night nervousness and the fact that she probably real- 
ized how much was expected of her. 

Tells Story of "Lamplight" 

There followed a short scene during which Mr. Neely, 
as Uncle Henry, was interrupted by his niece in the midst 
of his reminiscences. She finally prevailed upon him to tell 
her the story of the operetta which had stirred his memo- 
ries. In this way he introduced Lamplight and acted as 

In addition to Miss Bennett, who sang the soprano role, 
Dan Gridley, tenor, who for many months was a member 
of the original Philco Hour on WJZ, and Nathan Stewart, 
baritone, participated. The vocal honors went to Mr. 
Gridley, who sang with beautiful tone production and ex- 
cellent style and diction. He was probably more familiar 
with the score than were his fellow-singers, inasmuch as he 
sang the same role some months age, when the operetta 
was offered, through the medium of an audition, to a pro- 
spective broadcaster. For some unexplainable reason, this 
advertiser failed to appreciate its true beauty and merit. 

However, in general, the production was excellent and 
the effect was charming. The romantic setting, in Paris 
in the early nineteenth century, the story of the old lamp- 
lighter who was thrown out of employment when the new 
street lamps were introduced, and the accompanying tale 
of a young girl who grew to old age and died while keep- 
ing a hopeless tryst at the old lamp post with her soldier 


19 3 


lover who had been taken from her arms by the Napoleonic 
wars, all combined to paint a poignant picture with pig- 
ments such as few besides Jerome Kern could adequately 
muster. All in all, this first Philco Hour on the Columbia 
chain set a high mark that subsequent programs are not 
likely soon to equal. 

Chevalier a Fine Movie Actor 

The much-heralded radio debut of the French star, 
Maurice Chevalier, over WABC recently left me quite 
cold. His renditions of his native French songs were quite 
competent, but his attempts to sing American tunes con- 
firmed my belief that, as a radio singer, M. Chevalier is a 
great movie actor — and I must confess that I have never 
seen him on the screen. 


Ward Program Unimpressive 

The premiere broadcast of the Ward Tip Top Club on 
WABC recently was, to me, not at all impressive. It 
turned out to be just another program, with orchestra, 
quartet, soloists, or what have you. Nor was the setting 
— in a night club — startling or original in any respect. 
Due allowance must always be made for an initial broad- 
cast. Here's hoping future programs show some improve- 

Radio's One-Man Show, Phil Cook, 
a Marvel of Versatility 

(Continued from page 22) 
Coldwater, Mich., some 3 5 years ago, and moved to East 
Orange, New Jersey, at the early age of ten. I studied the 
violin with the intention of becoming a second Kreisler. 
Fooled the family by drawing pictures when I should have 
been practicing the violin. Got a job in my third year 
at high school and dropped the education to start doing 
up packages in an advertising agency. 

"I must have had a trace of Rudy Vallee-ism in my 
voice in its early stages, for I succeeded in talking Miss 
Flo Helmer into becoming a Cook — in name, at any rate. 
At present I am still married and happy." 

Cook is under exclusive contract to the NBC. In addi- 
tion to his broadcast activities, he makes dozen of per- 
sonal appearances each year in various sections of the 

Although Cook specializes in Negro roles before the 
microphone, his "Negro is a northern Negro, because I 
haven't been south of Washington,'' as he expresses it. 

McNamee "a Great Guy" Oscar Writes 
His Girl Friend, Margy 

(Continued from page 18) 

typewriter is due at work at four o'clock in the after- 
noon and it's five-thirty now, so he'll be in most any time. 
I almost forgot. You can tell the other girls in Yoakum 
that Mr. McNamee is married, so they might as well 
scratch him off the list. Mrs. McNamee is mighty sweet, 
too. I hope to meet her some time. 
Well, so long until next time, Margy. 
Love and kisses 





t BRYANT 6l)8 

*2LJ^Buiimmh*t~ i i mi 



Broadcasts to South Pole 

JAMES S. WALLINGTON, who has been senior an- 
nouncer for WGY, of Schenectady, since October, 
192 8, has announced most of the broadcasts from "WGY 
and its three short wave stations to Commander Richard 
Byrd's Antarctic Expedition. These programs have been 
broadcast every other Saturday since last May. Mr. 
Wallington's voice has carried to Commander Byrd and his 

associates the mes- 
sages that mean so 
much to these men 
who are making his- 

One of Mr. Wal- 
lington's most 
treasured possessions 
is a message from 
Commander Byrd, 
congratulating him 
on his marriage on 
October 4 last to the 
former Lady Stanis- 
lawa Eleanora Eliza- 
bieta Butkiewicz, a 
descendant of Polish 
nobility, who comes 
from Worcester, 

Mr. Wallington is 
director of the 
WGY Players, that 
pioneer dramatic 
group. He makes the radio adaptations and directs all the 
plays that the Players produce. He is also baritone of the 
Radio Four, a quartet well known in upper New York 

James S. Wallington 

For Your Convenience 

In order that you do not miss any of the vitally 
interesting features and pictures that will appear in 
RADIO REVUE in the months to come, why not 
let us enter your subscription now? 

One Year, $2.00; Two Years, $3.00 

Six Harrison Street 
New, York, N. Y. 

Please enter my subscription to RADIO REVUE 

for years. I enclose Dollars in 

cash, check, currency to cover. 


Street Number 
P. O 


What Price Announcing! 

(Continued from page 9) 

the case. The Announcer is dead ! 

Radio and radio companies and chains are purely com- 
mercial. The advertiser is the backbone of the industry. 
The status of the announcer is entirely changed. First, 
the age-old law of supply and demand has had its effect. 
Hundreds of young bloods, sensing the romance of the 
air, seeking the applause of the radio listeners, and vainly 
hoping to create a name that will live to posterity, offer 
their services as announcer for any fee. 

The demand is decidedly limited, so the majority of an- 
nouncers are really sacrificing themselves to the hope of 
a bright, though distant, future. They are on the air 
hour after hour, so that they are unable to give any one 
program particular attention. Further, they are obliged to 
read, word for word, scripts that are written by others 
who do not even think of the reader, let alone his style or 
personality. So their hope is shattered before they start. 

The only way to create a following among radio listen- 
ers is by means of a winning personality that projects it- 
self, and to do this, it is essential that the reader read his 
own words. True, it is possible to do an excellent piece of 
work with prepared copy, just as it is possible to read it 
poorly but, to advertise a commodity over the air, more 
than mere reading of words by a man with a pleasant 
voice is necessary. Those words must come from some- 
where deeper than the larynx. The speaker first must 
know his radio audience. He must know radio showman- 
ship. His words must be felt as well as spoken — they 
must be his words. 

How can an announcer be a real part of the program 
when the general style of the hour is decided by one, the 
musical numbers are chosen by another, the cast is chosen 
by a third, and even the words he speaks are written by a 
department that usually grinds them out by the basketful? 

The advertisers, who think primarily of the message 
they want to put across, are beginning to realize that 
herein lies the weakness of this most human and closest 
of all media and are, therefore, insisting on the radio spe- 
cialist, the man who, through years of experience, has de- 
veloped a sixth sense, a sense of radio showmanship, the 
most important factor in the building of any program. 
He is a man who can create the copy that is adapted to 
radio advertising and who can read that copy before a 
microphone, not so that it is blatant and cold, but, rather, 
so that it becomes a part of the entertainment, because the 
reader himself is a part. Many advertisers now insist upon 
having a man who is not tied to the myriad sustaining and 
out-of-studio broadcasts, who is not /;/ one commodity 
for thirty minutes and then comes out only to dive into 
another and finally to mix them all up with the correct 
time, stock quotations, and bed-time stories. 

And so we have the answer to one of the man)' questions 
which have come to me since my change. The advertis- 
er changes the name of the announcer who has proven 
himself, takes him away from the broadcasting companies 
and calls him a radio specialist. True, you hear him much 
less often but, when he is on the air, he brings you his 
personality plus a program which sparkles and, as a re- 
sult, you probably look with favor on the commodity 
made by the sponsor of that program. Long live the an- 


<z?j[ view uou miani to read 

The Tragedy of Neglected Gums 

Cast of Characters : 
Your Dentist and You. 

you: "My gums are responsible for this 
visit, doctor. I'm anxious about them." 

D.D.s.:"What's the matter?" 

you: "Well, sometimes they re tender when 
I brush my teeth. And once in a ivhile they 
bleed a little. But my teeth seem to be all 
right. Just how serious is a thing like thisl" 

D.D.s.:"Probably nothing to bother 
about, with a healthy mouth like 
yours. But, just the same, I've seen 
people with white and flawless teeth 
get into serious trouble with their 

you: "That's what worries me. Pyorrhea 
— gingivitis — trench mouth — all those hor- 
rible-sounding things! Just a month ago a 
friend of mine had to have seven teeth 
pulled out. 

d.d.s.: "Yes, such things can happen. 
Not long ago a patient came to me 
with badly inflamed gums. I x-rayed 
them and found the infection had spread 
so far that eight teeth had to go. Some 
of them were perfectly sound teeth, 

you: {After a pause") "I was reading a 
dentifrice advertisement . . . about food. 

d.d.s. : "Soft food? Yes, that's to blame 
for most of the trouble. You see, our 
gums get no exercise from the soft, 
creamy foods we eat. Circulation lags 
and weak spots develop on the gum 
walls. That's how these troubles begin. 
If you lived on rough, coarse fare your 
gums would hardly need attention." 

you: "But, doctor, I can't take up a diet of 

•«-3-«-S-«-S-«-«-€-«-e-<X-«-«-<2-« J 3-<3-«-3-^-®«-«-«-« 


73 West Street, New York, N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to cover 
partly the cost of packing and mailing. 



City Stale 

C 1929 

raw roots and hardtack. People would 
think I'd suddenly gone mad." 

d.d.s.: "No need to change your diet. 
But you can give your gums the stimu- 
lation they need. Massage or brush 
them twice a day when you brush 
your teeth. And one other suggestion: 
use Ipana Tooth Paste. It's a scientific, 
modern dentifrice, and it contains 
special ingredients that stimulate the 
gums and help prevent infection." 

* * * 

f\n imaginary dialog? An imaginary 
"you"? Admittedly, but the action is 
real. It is drawn from life — from real 
tragedies and near-tragedies enacted 
every day in every city of the land ! 

And if dentists recommend Ipana, as 
thousands of them do, it is because it is 
good for the gums as well as for the 
teeth. Under its continual use, the 
teeth are gleaming white, the gums 
firm and healthy. For Ipana contains 
ziratol, a recognized hemostatic and 
antiseptic well known to dentists for 
its tonic effects upon gum tissue. 

Don't wait for "pink tooth brush" 
to appear before you start with Ipana. 
The coupon brings you a sample which 
will quickly prove Ipana's pleasant 
taste and cleaning power. 

But, to know all of Ipana's good ef- 
fects, it is far better to go to your near- 
est druggist and get a large tube. After 
you have used its hundred brushings 
you will know its benefits to the health 
of your gums as well as your teeth. 

a s- 2 s 3- » 3-a- »»-» a-: 



Be guided by a name that has meant absolute tube integrity for the past 
fourteen years. -:- The name is Cunningham — choice of the American home. 







Manufactured and sold under rights, patents and inventions owned and I or controlled By Radio Corporation of America 




In This Issue: 

Frank Moulan 

Stage vs Radio 

The SOS from Chinatown 

"Uncle Don" Carney 

Mme. Galli-Curci 

The Two Troupers 

And Other Features 


from the Studios of 

Donald McGill 



American Opera Company 




3 3 West 67th Street 
New York 

Telephone: Trafalgar 8063 

Adele Vasa 

Coloratura Soprano 


American Opera Company 

Brownie Peebles 


Canadian 'National 

Rail nays 


American Opera Company 

Mary Silveira 
Lyric Coloratura Soprano 

American Opera Company 

©C1B 637 46 %j> 

■* ' S ft® 



Volume I Number 4 , March, 1930 


On the Cover: Caroline Andrews By Gaspano Ricca. 

Alma Kitchell {Photograph) 2 

Trying To Be Funny Not As Much Fun as It Might Seem By Frank Moulan 3 

Frank Moulan (Photograph) 5 

A Gypsy Call By Alice Remsen 6 

Radio Gives Actress Greater Thrill Than Does Stage Georgia Backus 7 

Cathedral of Underworld Sends SOS From Chinatown By Allen Haglund 10 

Trees Need Not Walk the Earth By David Ross 12 

Radio Revives Public's Interest in Old-Time Minstrel Show By Al Bernard 13 

Don Carney is "Uncle" to More Than 3 00,000 Children By David Casern 15 

"Sponsoritis" Anon. 16 

At Home on the High "Cs" (Photograph) 17 

Mr. Average Fan Answers Some of His Critics By Average Pan 18 

Sound Effects Made to Order for Radio Programs By Herbert Devins 20 

In Memoriam: A Tribute to Col. C. T. Davis By Bertha Brainerd 23 

Personalities — Pert and Pertinent (Photograph) 2 5 

Interest in Grand Opera Fast Waning Says Mme. Galli Curci 

By Willie Perceval-Monger 26 

Acting a New Side Line, Oscar Writes Girl Friend Margy. By P. H. W. Dixon 27 

The Two Troupers Delve Into Dark Past . . By Marcella Shields & Helene Hardin 29 

Evening Stars Program an Interesting Experiment in Good Will 

By Donald Withycomb 3 1 

Editorials 32 

Soprano Modulator, Radio's Latest Wonder By I. B. Hansom 33 

Static from the Studios 34 

Listener's Forum 35 

Rudy Vallee and Jessica Dragonette Lauded in Prize Letters 36 

Ether Etchings 37 

Program Notes 39 

Lessons in Loveliness By Nell Vinick 41 

Radio in the Home By Mrs. A. M. Goudiss 42 

Milady's Fashions By Marie Blizard 44 

The Big Ten — Best Selling Popular Songs of the Month 45 

Bruce Gray, Editor 

Contributing Editors: 

Allen Haglund H. Raymond Preston 

Mrs. Julian Heath Walter H. Preston 

Willie Perceval-Monger K. Trenholm 

Subscription Prices: United States, $2; Canada, $2.50; Foreign, $3; Single Copies, 25c 


Rouses Early Morning Music Lovers 

Alma Kitchell, Who Sings So Sweetly on Sunday Morning ProgramSj 8 to 9 

' I ^HIS charming NBC contralto delights those who tune in on 
the Sunday Symphonette with her rich renditions of only the 
best music. She -was born in Superior, Michigan, and first studied 
at the Cincinnati Conservatory of Music and, later, under the 
direction of her husband, Charles Kitchell, in New York. She 
came to radio by way of concert and oratorical work, and joined 

the NBC fold over a year ago. Early in her career she studied 
to become a concert pianiste, but experts, upon hearing her beau- 
tiful voice, urged her to turn to singing, proving that experts are 
often correct. She is also featured on Dr. Cadman's hour and 
sings with the National Grand Opera Company, the Salon Singers 
and a number of other programs. 

MARCH , 19 3 

to be FUNNY 
Not as Much FUN 
As h Might S 


7 wasn't born funny. It was 
thrust on me. After a few 
appearances with the Young 
Apollo Club, a meeting was 
called to decide whether I 
should continue to sing. The 
upshot was that I was unani- 
mously elected official come- 
dian of the group. 

Harris &• Ewirtg 

Frank Moulan 

Comedian, National Light Opera 

Company, NBC. 

If I had my choice of any 
role, out of the 242 librettos 
I am supposed to know, Yd 
choose that of Jack Point, the 
strolling jester in Gilbert and 
Sullivan's "The Yoemen of 
the Guard". That role has 
everything in it — comedy, 
philosophy, tragedy. 


SOMETIMES it is fun to be funny. Always it is a 
pleasure to be human. But to become reminiscent 
about the parts one has played in a lifetime behind 
the footlights at first thought would seem to be a task not 
to be taken too lightly. 

Reminiscences, somehow, have always been associated in 
my mind with old age. Why didn't they say "Well, old 
timer, do us a bit of history about the stage of your day 
. . . the stage that is unknown to us moderns"? I could do 
that, too, for I belong to that rapidly dwindling group of 
veterans who saw the original production of "The Black 
Crook". That was when I first wore long trousers. I 
had to wear them in order to buy a ticket. A great show, 

that. The girls wore tights. Ah, the good old days! 
But, since Peggy Joyce has done her memoirs and we can 
probably expect a volume from Helen Mayes's baby al- 
most any week, here goes. 

First of all let me issue what the lawyers call a dis- 
claimer in regard to certain questions asked by young 
journalists. I was never starred in a production with 
Jenny Lind. Neither was I that unsung celebrity who 
carried Mrs. Whiffen on the stage at the tender age of six 
months — Mrs. Whiffen I mean. I may be an old-timer, 
but I never write letters to the papers begging for the re- 
turn of hoop-skirts. I still regard the abolition of short 
skirts as the major catastrophe of 1929, regardless of the 


rise to fame of that well known phrase "more margin." 
First Contralto, Then Baritone 

The fact that I was born is so obvious that it is scarcely 
worth mentioning. The fact that I was actually born in 
New York may be considered news in some circles — that 
is, if Greenwich Village can be considered New York. 

In those days I was a contralto, but 
you can't beat biology, so it was in- 
evitable that I should develop into a 
baritone. This transition took place 
virtually over a week-end, much to the 
astonishment of all my associates. 

Before my voice changed, my career 
had already started. When I was ten 
years old I joined the Young Apollo 
Club, a musical group that sang in 
town halls and fire houses in communi- 
ties inexpensively distant from New 
York City. I also sang in choirs, among 
them the boys' choir of Trinity chapel. 

Now is as good a time as any to con- 
fess that I wasn't born funny. It was 
thrust upon me. After a few appear- 
ances with the Young Apollo Club, a 
meeting was called to decide whether 
Brother Moulan should continue to 
sing. The upshot of the meeting was 
that I was elected, without one dis- 
senting vote, official comedian of the 
group. You can't imagine how funny 
that was ! 

"With my first whiskers came the re- 
alization that life was real and life was 
earnest and the stage was not all gold. 
I decided to become a business man. 
Even in those days the show business 
wasn't what it had been. I tried the 
cloak and suit business, but my an- 
cestry was against me from the start. 

For a while I was a first-class bundle 
wrapper, but finally decided there 
wasn't much future in that business. 
I tried this and that with mediocre suc- 
cess and finally awoke one morning 
and discovered that I was back in the 
show business, playing parts for the 
Calhoun Opera Company. 

The Calhoun troupe was "on the road", 
road covered the then very wild and woolly west between 
Chicago and San Francisco. It was in Prescott, Arizona, 
that I began to fully appreciate the comparative security 
enjoyed by a first-class bundle wrapper. I meditated be- 
hind an old iron stove . . . God bless that old iron stove 
. . . while a group of iriate Arizonians shot holes through 
the scenery and such members of the company as care- 
lessly wandered into range. 

Had Served Apprenticeship 

I left the Calhoun company shortly after that expe- 
rience. I felt that I had served my apprenticeship, as I 
had done everything from singing in the chorus to singing 
leading roles in heavy operas. The next six years were 

Mr. Moulau in the title role of 
"The Sultan of Sitlu". 

Its particular 

spent on the payroll of Henry Savage. Appearing alter- 
nately in New York, Chicago and St. Louis, I sang in a 
different opera or operetta every week for the entire six 

I was very flattered when I was offered the chance to 

sing the role of Figaro in "The Barber of Seville". Of 

course, there was a stipulation. I had one week to learn 

the role. It was months later before I learned that all 

other available singers had turned down 

the same opportunity because they did 

not think a week's study was enough. 

George Ade wrote "The Sultan of 

Sulu" and made immortal the line "It 

is no time for mirth or laughter, the 

cold, dark dawn of the morning after". 

The line is usually credited to Lord 

Byron. I was in that show for two 

years and enjoyed the rest, because Mr. 

Ade did not rewrite the production 

every week. 

Some years later I thought I had dis- 
covered an ideal job. Klaw & Er- 
langer were producing American ver- 
sions of British pantomimes. "There", 
thought I, "is my chance to show them 
that a funny voice is not my only 
asset". I was mistaken. Pantomime 
proved to be another word that didn't 
mean anything, for there were lines to 
read and songs to sing. 

Then Charles Frohman produced a 
series of musical productions and I was 
kept busy in them. Just when I had 
decided to retire, someone got the idea 
of revivals of the old light opera 
classics and I had to start all over 
again. The managers figured it would 
be good advertising to produce an old 
operetta with a member of the original 
cast thrown in as a sort of museum- 
piece attraction. 

In the meantime, both the radio and 
the movies had been invented and de- 
veloped. Roxy demonstrated that 
there's nothing like a little opera to 
lighten up an otherwise heavy program 
originating in Hollywood, and that 
meant more work. Then came the Na- 
tional Broadcasting Company and its weekly presentation 
of light operas. I tried radio and discovered Utopia. I 
was actually paid to sing roles I had learned . . . and the 
radio people had no objection to my taking a peek at the 
script in case I missed a line. 

Comedy Falls Fail in Radio 

Radio, however, does limit a comedian. There's not a 
chance in the world to get a laugh out of a good comedy 
fall and, after I tried it a few times, I discovered that it 
was just so much useless effort and was really worrying 
the radio production man, who thought I was too old. 

It was during my first year with Roxy that I almost 
achieved fame as a song writer. It happened this way: 

A certain publisher cornered me and asked me to write 
a lyric. 

MARCH, 19 3 

Frank Moulan 

NBC Comedian as Figaro in "The Barber of Seville" 


"Roxy is a big name", he said. "Almost on a par with 
'mammy' and 'Tennessee'. I want you to do me a lyric for 
a song about Roxy". 

It looked like a big chance to me. I worked hard on 
that lyric. It had everything in it except a reference to 
June night, moonlight and you. I took it over to the 
publisher. He read it carefully. 

"It's a very fine lyric, Mr. 
Moulan", he said. "A very fine 
lyric. But I'm sorry — we can't 
use it. It's entirely too clean". 

I really should say something 
about the current brand of musical 
comedies as compared with the 
good old days. But I haven't had 
time to see one in two years, so 
what's the use? Folks are paying 
$7.70 to see them. They must be 

Someone suggested that I men- 
tion the part I'd rather play than 
any other. Out of the 242 libret- 
tos I am supposed to know — if you 
don't believe I do, come around 
some day and we'll play a game 
called 'libretto' that I invented — 
it's hard to pick the best. How- 
ever, if I had to play a benefit and 
had my choice of any role, the one 
I'd gladly play, because I like it, is 
that of Jack Point, the strolling 
jester in the Gilbert and Sullivan 

"The Yoemen of the Guard". That role has everything in 
it — comedy, philosophy, tragedy. It doesn't depend on its 
funny lines for its appeal, and if you don't think a part 
like that is a relief to a comedian, just try being funny for 
thirty consecutive years. 

Mr. Moulan as Gaspard in "The Chimes of 

One of Year's Best Stories 

f\ NE of the best stories of the year has received quite a 
^~* lot of publicity, but is so unusual that it will bear 
further repetition. It concerns Fred Meinholtz, manager 
of the radio department of the New York Times. Mr. 
Meinholtz is stationed regularly at 
his home in Bellaire, L. I., where he 
has a powerful receiving set with 
which he picks up the messages 
sent out by Commander Richard 
Byrd's South Pole Expedition in 
Little America. 

It happened some time ago that 
F. T. Birchall, acting managing 
editor of the Times, wanted to get 
in touch with Mr. Meinholtz, but 
could not do so because Mr. Mein- 
holtz's home telephone was being 
used by some other member of the 
family. Mr. Meinholtz was busy 
receiving a story from the South 

With characteristic newspaper 

enterprise, Mr. Birchall, who was 

extremely anxious to talk to Mr. 

Meinholtz, conceived the idea of 

getting in touch with him by way 

of the South Pole. He issued the 

necessary orders and a message was 

sent to Little America. Inside of a 

few minutes Mr. Meinholtz was 

surprised to get the following message, which broke in on 

the running story he was receiving: "Your office is trying 

to get you on the 'phone. Please hang up the receiver." 

The remarkable thing is that this message went 18,000 
miles to the South Pole and back in less than five minutes. 

A Gypsy Call 

{Inspired by the A. and P. Gypsies on WEAF) 


O come with me and my caravan, 
My wandering abode; 
And leave the stones of the city 
For the lure of an open road; 
For the ruddy glow of a camp fire 
That shines through the scented dusk, 
Bidding you live a roving life 
In place of the worn-out husk 
Of hide-bound, grim convention, 
That stifles the soul within 
And smothers the hope of freedom 
With the blare of a city's din. 
A cloud of dust behind you, 
Before you an unknown land, 
Two laughing eyes beside you, 
And around you a gypsy band. 

O come with me and my caravan 
My wandering abode, 
And leave the stones of the city 
For the lure of an open road. 

MARCH , 19 3 

Radio Gives Actress 
Greater Thrill 

Than Does Stage 

In Broadcasting, your 
Audience is the En- 
tire Country and each 
Listener is Actually as 
Close to You as is 
the Little Microphone 
into which you speak. 
It's more intimate, 
more thrilling than 
the stage 

In the Theatre, you 
Step an the Stage and 
Face your Audience. 
If they like you, they 
let you know about it 
and, if they don't 
like you, well there's 
no doubt about that 


_J Editor's Note — Miss Backus is the leading V 
actress in Arabesque, the Henry and George 
program, From Dusty Pages, Romantic An- 
cestors and many Philco and Graybar pro- 
grams, in addition to many special broadcasts 

In the directing field the Women's Avia- 
tion Hour and the Civic Repertory Theatre 
presentations come under her guidance. 
With Don Clark, she writes and directs 
From Dusty Pages and Romantic Ancestors. 
And all by herself (as if she had nothing 
else to do) Miss Backus does the continuity 
for Ward's Tip-Top Program, In a Russian 
Village, Around the Samovar, Gypsy Camp, 
\^ Aztecs, French Trio and timely script acts, f 

YOU want a story about me? Oh, but that's not fair. 
I'm supposed to write about other people. That's 
why I'm with the Columbia Broadcasting System. 
You want to know whether I like the stage, movies or 
radio best? Well, I'm with radio. Isn't that the best 

What parts have I played? Say, listen, why not let me 
tell you about some of the programs that we have on the 
air? That's much more interesting. For instance . . . 

Yes, I have several hobbies. I'm crazy about dogs and 
horses, I love to swim, and trout fishing is right up my 
stream. I adore traveling. I'm a sort of vagabond, I 
suppose that's why I sign my poems with the name 
"Gypsy". But I'm most interested in radio and the people 


in it. 

Yes, I started on the stage. My family were in the 
theatre so I came by it naturally. It isn't particularly 
interesting to know that I've played stock in Columbus, 
Ohio, my home town, and in Schenectady and Brooklyn, 
N. Y.; Grand Rapids 
and Lansing, Mich. ; 
Baltimore; Skowhegan, 
Me., and ; where else. 
I've done as many as 
eight shows a week, in- 
cluding S h a kespeare 
and Uncle Tom's Cab- 

I've carried scenery 
from one station to 
another during a stage 
hands' s t rike. I've 
slept all night, or as 
much of it as possible, 
in a cold, dirty "de- 
pot" when train con- 
nections didn't con- 
nect. I've jumped 
into a part on a half 
hour's notice, at the 
illness of the regular 
actor. I've played with 
temperament a 1 stars, 
and liked it; I've play- 
ed in a tent show, and 
liked it; I've played on 
Broadway, and liked it; 
but now I'm in radio 
■ — and, well — I love it. 
When I was in the 
theatre, I found fate 

sticking a pen in my hand, telling me -to write. I pushed 
the pen away, determined to be an actress, until suddenly 
there appeared out of the static — radio. I gave in, and 
settled down to write about people that I knew, about 
hoboing through the mountains of West Virginia and 
Kentucky, about job hunting on 
Broadway, about Hollywood and the 
movies, about almost anything, in 
fact. And then, a perverse fate put 
parts in front of me, and said "Now 

Then, when I am all set to act 
other parts and write about other peo- 
ple, you ask me to write about me, so 
here goes. 

Where Is Radio Going? 

Life has always been very interest- 
ing for me — no, that's no good. 
That's no way to start a talk. I 
know — I'll start with the time, a little 
over a year ago, when I was taken 
into the Columbia Broadcasting Sys- 

Each of you has watched, or heard, 
rather, radio emerging from its first 
squeaky noises, issuing from a box- 

Miss Backus, with Frank Knight, in a 
scene from "Arabesque" 

like arrangement, and each of you has heard it develop 
into the interesting thing it now is. Where it will go 
from here no one knows, but that will be interesting, too. 
I find radio particularly fascinating because of the peo- 
ple connected with it. I don't mean only the people be- 
hind the microphones, but the audiences at the 
other end of the wireless. In the theatre you 
step on the stage and face your audience, 
which wants to be entertained. If they like 
you, they let you know it and, if they don't 
like you — well, there's no doubt about that 

But in radio, your audience can't tell you at 
the time whether they like your program or 
not. It's only when you get their letters that 
you find out what they think of you and your 
program. But, if you think they don't let 
you know whether they like you or not, then 
you should read some of the letters. 

After you get over the first strained feel- 
ing of talking into a little black object, called 
a microphone, you begin to get a bigger thrill 
than on the stage, for you realize that your 
audience is the entire country and that each 
one is as close to you as the little black object 
into which you're talking. It's more intimate. 
It's more thrilling. 

Arabesque Wins Acclaim 

A year ago, Yolande Langworthy came to 
several of us with an idea for a program com- 
bining music and drama. This program was 
called Arabesque, and so we got together and 
put it on our local station, only one station for 
that first show. Due to the beauty and in- 
spiration of Miss Langworthy, the author, and 
the art of David Ross, Reyonalds Evans and Frank Knight, 
this program has come to be one of the outstanding hours 
on the air. Now it is on nearly every station on the Co- 
lumbia chain. That gives a fairly good idea of the re- 
action of the radio audience. 

Speaking of several of the 
people in Arabesque, brings up 
something about which I want 
to talk. I'm going to give 
away a few of the family se- 
crets of Columbia. David 
Ross, in addition to having a 
voice of unusual beauty, is a 
writer of no small note. His 
poems contain the same beauti- 
ful rhythm and colorful quality 
that you have heard in his read- 

Incidentally, Frank Knight is 
one of the finest actors on the 
air today. I ought to know, I 
play with him in Arabesque. 

The music of Arabesque is 
furnished by Emery Deutsch 
and his musicians. I have been 
especially interested in this 
Gypsy group, for when Emery 
first came to Columbia with an 

As She Appears in the Nit Wit Hour 

MARCH , 19 3 

idea for a Gypsy camp program, it was turned over to me, 
perhaps because of my vagabond tendencies. We have 
followed the Gypsies all over the world through music. 
When Emery tucks his violin up under his chin and starts 
caressing it, — well, you're sitting beside the camp fire 
watching the stars overhead through the trees 
of a forest of melody. Goodness, that sounds 
like a continuity writer, doesn't it? 

That's what I am, though, a continuity 
writer. Ask Don Clark, he's the director of 
continuity and he's a good judge. Doesn't he 
let me work with him on some of our drama- 
tizations? You've probably heard some of our 
sketches, the dramatizations of King Arthur 
and the knights of the Round Table; the series 
of legends taken from all the stories of the 
world, which we've called From Dusty Pages; 
and some of the special script acts that are 
sent out over the air. Incidentally, he's a 
young man from whom more will be heard 
some day, and I don't mean only when he's 
taking the air. There is a charm in his writ- 
ing that is unusual, but you doubtless know 

Staff Writes Musical Comedy 

In fact, I think there's something unusual 
about every one at Columbia, from the people 
who are heard over the ether waves to the boys 
in the control room who send out the pro- 
grams. Some of these boys, in addition to 
being versed in the technical end of the busi- 
ness, compose poetry. Some write music and 
some play various musical instruments. In 
fact, several weeks ago, I put on a musical 
comedy which was written entirely by people of the staff. 
Some of the selections were composed by one of the girls 
in the stenographic department, and some by the artists. 

There's no need to tell you of the ability of such people 
as Channon Collinge, Freddie Rich, Claude MacArthur, 
Minnie Blauman or those who are already known to you, 
I'm just telling you a bit about 
some of the folks who aren't 
heard over the air, but who are 
none the less important. 

And then there are the ac- 
tors in our dramatic sketches. 
Each one is capable and inter- 
esting to work with. Each one 
has a different way of getting 
into a part, as we say, and it's 
fascinating to study the indi- 
vidual methods and know how 
to work with the various people. 

That brings me to the way in 
which a dramatic sketch is done. 
Yes, that's my business, and I 
love it. That's why I love peo- 
ple, because each person that I 
meet gives me a different story 
which I will sometime write. 
Some day you may find your- 
selves or your letters in a play 
or a story, and maybe you'll 

Ready for a horseback ride 

recognize yourself. 

And some day I'm going to write the story of Colum- 
bia, if you'd like to hear it. The story of each one and 
how he came to be interested in radio, the singers, the an- 
nouncers, the musicians, the operators, the directors, 

the production men, 
the hostesses who greet 
you when you come to 
see the studio and make 
you feel that you are 
always welcome at Co- 

Likes Comedy and 

I could take up more 
of your time, but — 
what's that? Do I like 
tragedy or comedy 
best? Well, I play 
Myra in Arabesque and 
that's tragedy; and I 
play Aphrodite Godiva 
in Brad Brown's Nit 
Wits, and that's com- 
edy, and I like each 
one. Somehow I have 
a feeling that people 
like to laugh, but that 
they also like to cry, 
so I guess a little of 
both is the best way. 
Sometimes I'm sure I'm 
a comedian, but then, 
when I think a pro- 
gram hasn't gotten over — you should see how tragic I can 

There are a lot more people about whom I want to tell 
you; for instance: Ted Husing, the best sports announcer 
in the world. He can tell you about the dullest game in the 
world and make you think it's the whole world series 
and the championship basketball and 
football games rolled into one; Don 
Ball, the announcer, who makes a 
ukulele sorry it didn't meet him be- 
fore it went to Hawaii; Dale Wim- 
brow who sings, plays, dances and 
writes; Dave Elman, the writer, who 
can find more interesting things on 
Broadway to write about than even 
Broadway knows are there; Jan 
Schimek, who knows all about every- 
thing in the encyclopedia and, if he 
doesn't, he has to find out, because 
he's our research man; the boys in the 
publicity department who supply you 
with information about the people in 
whom you are interested, but who 
never write about themselves. Now, 
there's an idea. I know you'd like to 
hear about some of them one of these 

With so many people here, all of 
(Continued on page 41) 

Scene from a movie in which 
Miss Backus appeared 



(cathedral of the U nderworld 

Sounds SOS 



DOWN in dirty Doyers Street, in the heart of the 
Chinatown of New York, every Sunday afternoon 
Tom Noonan sounds an SOS for the sinking 
souls of the underworld. As if to a ship in distress, the 
radio brings almost instant response, and no more potent 
proof of the power of broadcasting can be found than in 
the help his Rescue Society receives from radio listeners in 
the great work it is doing for the Bowery bums and the 
city's unfortunates. 

Almost everyone, it seems, has heard the program that 
the good "Bishop", as the hobos call him, presents over 
the air each week. Sta- 
tions WMCA, WCAM, 
WDRC, WDEL a n d 
WOKO broadcast h i s 
message, so that it is heard 
over the whole eastern 
coast, and letters received 
from the far West and 
even from foreign coun- 
tries indicate that, as the 
"Bishop" says in his cheer- 
ful drawl, "the whole 
world is listening in''. 

The Chinatown Mission 
operates in what was for 
many years an old Chinese 
theatre at 5 and 7 Doyers 
Street. It is a quaint and 
spooky relic of old New ]„ the Heart of Chinatoiv 

fe*4 -lflk 


8jL '*tfwl 

m F" b J 

Pkullfip V 1 '^ 1 ? 

^^^^j/* ci ji j 

""."It 1 m k . ^M* 1 \\ 


York. The walls, once hung with Chinese tapestry and 
tinsel, somehow retain a part of their Oriental atmos- 
phere, despite the fact that passages of Scripture and re- 
ligious slogans are plastered over the white paint that 
covers the scent-soaked walls. Grooves have been worn 
in the benches by long years of usage. 

Before it was leased to the Rescue Society, the building 
was one of the most notorious gambling joints in China- 
town. In the basement, which Tom Noonan regally refers 
to as the Blue and Gold Room, the Society serves its coffee 
and meals to the destitute hordes that seek help; this 
room was once a miserable opium den, run by "Bridgie" 
Webber, who, with "Bald Jack" Rose, turned State's evi- 
dence against Lieutenant Becker and the four gunmen 
who died in the electric chair for the murder of the 
gambler, Rosenthal. 

Cannot Accommodate Crowds 

Every Sunday afternoon finds the upper room filled, 
mostly with those who have come from all over the city 

to see Tom Noonan make 
his radio appeal. Some 
nine hundred crowd into 
the Mission at three-thirty 
each Sunday, but three 
thousand to four thousand 
would attend if space 
would permit. At other 
times during the week, the 
Mission is open as a haven 
of welcome and rest for 
the grim army of tattered, 
torn and bruised. 

Over the entrance is a 
sign: "Stop! If you 
haven't a friend in the 
world you can find one 
here". Every evening at 
ten o'clock a service is 

n in New York City 

MARCH, 19 3 


held, and the ragged outcasts push their way over Tom's 
hospitable doorstep. Hymns are sung, and good cheer is 
dispensed, but the "Bishop" makes it a point not to cram 
religion down their throats. Young and old, white and 
black, all creeds and all nationalities are treated alike, and 
it is utterly true that those who seek help and consola- 
tion at the "Bishop's" door never encounter the stiff pat- 
ronage usually met with at the hands of organized 
benevolence. He preaches the gospel of Christ only to 
those who are willing to hear. 

At the end of the service, the bread line forms. Each 
man is doled out his share — and no questions asked. For 
many, jobs are found, others get clothing, some are sent 
to hospitals, and Tom can furnish actual proof that a 
great number — an amazing number — have been restored 
to the right path. 

The Rescue Society, Inc., was founded some twenty-six 
years ago. Chinatown was a dive in those days. It was a 
scene of killings, 
thefts and drug 
addiction, and in- 
credible vice 
flourished like the 
prover b i a 1 bay 
tree. It was then 
that a s m all 
group of earnest 
people descended 
into the district 
with the avowed 
inte n t i o n of 
cleaning this sink 
of iniquity. 

Moves to Larger 

The pro posi- 
tion started as 

one of personal work, but soon the organization took shape. 
It first leased a room that had been used as an opium joint 
in 15 Doyers Street, and in several years expanded and 
took in 17 Doyers Street. But its growth was so rapid 
that it soon became necessary to seek still larger quarters, 
and the present location at 5 and 7 was leased for a long 
period of years. 

Eleven years after its formation, just a quarter of a cen- 
tury ago, Tom Noonan joined the organization and has 
been working diligently and with great effect ever since. 
He is now its secretary and superintendent. 

Tom is no spring chicken, but he is as spry and nimble 
as any radio listener could picture him; long and lean, 
immaculately dressed, he has a tremendous supply of vital- 
ity. He himself is a product of the miserable surround- 
ings in which he works. He was born in North Second 
Street in the Williamsburgh section of Brooklyn. He has 
known the poverty and degradation of the Bowery dis- 
trict ever since infancy. He never knew his mother and 
has only a dim recollection of his father. All he can recall 
of his early days are the squalor and hard knocks he ex- 
perienced; with that flare for fine-sounding phrases, Tom 
says of himself he was "suckled on the sour milk of the 
world that lives within the shadow of the law". The 
gutters were his home, and anything he could purloin was 
his food. 

Souls in Pawn — The Famous Bread Line 

At the age of seventeen he became an inmate of Sing 
Sing, charged with burglary. The time he spent there was 
passed in profitable meditation. A clever Irish lad, he 
heeded the advice of a well-wisher. The work he is doing 
now is, as he himself says, "an expression of gratitude in 
practical form for what was done for me years ago". 

Tom Is a Friend to All 

Tom is a hale-fellow-well-met, just as cheerful and 
friendly with every slinking figure that goes by as he is 
before the microphone, and this pleasant and powerful 
personality has given him and his Chinatown Mission the 
success that both now enjoy. His penchant for the harm- 
less wise-crack, the heart-rending tale, the appropriate 
adjective and the dramatic thrust has made his Sunday 
radio appeal the very heart of the Rescue Society's organi- 

This is the 
third year they 
have been on the 
air. Broadcasting 
the service was 
Tom N o o nan's 
idea; he knew 
he could please 
the radio audience 
and achieve re- 
sults by putting 
on a program of 
real human inter- 
est that was still 
religious in its 

It takes money 
to put over the 
great work he is 
doing, and it is 
his t r e mendous 
popularity on the air that is bringing in sufficient funds 
to carry on. Most of the Society's receipts are donated by 
radio listeners who, hearing his appeal over the air, send 
in their contributions. At least half of the $60,000 taken 
in by the Society last year was received in this manner, 
but it is probably true that as much more came in as an 
indirect result of the great popularity he has achieved 
through his broadcasting. 

The power of his radio appeal is amazing. Tom utters 
a plea for assistance from his radio audience and, within 
five minutes, he is in position to announce over the air 
that this appeal has been answered. He receives, on an 
average, eleven hundred letters a week, many of them 
pleading for assistance, others giving assistance. 

Fills Needs of Unfortunates 

Only last month an old lady in New Jersey wrote him 
to say that she had broken her ear-trumpet and could no 
longer hear his program. Within a few moments he was 
able to announce that an ear-trumpet had been donated 
by a listener in Poughkeepsie. In this way last year, he 
was able to furnish to the needy twenty-one wheelchairs, 
ten loudspeakers, one express wagon, three Persian cats, as 
many canaries, a score of crutches and artificial limbs, 
several tricycles, one bicycle, a cuckoo clock and a parrot, 



among other things. 

He has also been able to locate missing persons in this 
way and to conduct a sort of matrimonial bureau. Once 
a poor farmer in Long Island telephoned him that the 
wind had blown down his barn door, and the "Bishop" 
was able to announce on 
that same Sunday after- 
noon that the barn door 
would be replaced by an- 
other as a gift of a more 
fortunate and altruistic 

If any firemen, police- 
men or street cleaners 
need and deserve a raise, 
the good "Bishop" be- 
comes their most enthusi- 
astic spokesman. A few 
weeks ago he made a plea 
for the better treatment 
of janitors, and the jani- 
tors rose in a body and 
thanked him for his help. 
It was only a month or 
two ago that he received 
a request, through the 
chaplain at Sing Sing, 
from one of the inmates 
of the Death House that 

two songs be sung. One was an Episcopal hymn, the other 
a ballad "Somewhere a Voice is Calling". The condemned 
man had been given the privilege to listen in on the Sun- 
day afternoon program before he died. Tom complied 
with the request and received a wire of thanks from the 

The ladies make a big hero of Tom Noonan. He is a 
great jollier, and the fair sex enjoy his banter. He has 

The Rescue Society Mission on Doyers Street 

often announced over the air the receipt of a message 
saying that a new-born baby had just been named "Tom 

There are no more engaging broadcasts than the China- 
town Mission, the "Cathedral of the Underworld", as he 

calls it. There is nothing 
else like it on the air. Tom 
has a fine dramatic in- 
stinct and he knows that, 
if he is to carry on his 
good work, he must make 
his hour and a half on the 
air an entertaining one. 
He often gets well-known 
artists to assist him. Van 
and Schenck have done 
their act for him, and 
Nora Bayes, that popular 
comedienne of better days, 
sang her last song on his 
platform. Each Sunday 
he presents one of his con- 
verts, and some of the 
most amazing tales of 
ruin, romance and re- 
demption are unfolded. 
There is always a back- 
ground of good music 
furnished by the Hackel- 
Berge Trio and the Aida Brass Quartet. Recently Tom 
Walsh, brother of the old White Sox pitcher, has been a 
most acceptable soloist. 

Tom Noonan blends together the various elements of 
mirth, music, religion, fine-sounding phrases and human 
kindness and shoots the product through the air. And he 
is pretty nearly right when he says "The whole world is 
listening in". 

Trees Need Not Walk the Earth 


CBS Announcer 

Trees need not walk the earth 

For beauty or for bread; 

Beauty will ccme to them where they stand. 

Here in these quiet groves 

Is no pride of ancestry: 

A birch may wear no less the morning than an oak; 

Here are no heirlooms save those of loveliness 

In which each three is kingly in its heritage of grace; 

Here is but beauty's wisdom, 

In which all trees are wise. 

Trees need not walk the earth 

For beauty or for bread, 

Beauty will come to them 

In the sunlight 

In the rainbow 

In the lilac-haunted rain, 

And bread will come to them as beauty came: 

In the sunlight 

In the rainbow 

In the rain. 

MARCH , 19 3 


Radio Revives Public's Interest 
in Old-Time Minstrel Show 

The Minstrels in Action. In the foreground: Harold Sanford, conductor. In the ring, left to right: Paul 
"Tambo" Dumont, end man; Steele Jamison, tenor; Harold Branch, tenor; William Shelley, interlocutor; 
Harry Donaghy, bass; Darl Bethmann, baritone; Al "Bones" Bernard, end man. Left rear: Carson Robison. 

Right rear: Curt Peterson, announcer. 



ANY things have happened since Dewey fought 
Spain back in 1898. We have seen the advent of 
the movies, the radio and the talkies. Their in- 
vasion of the amusement field gradually crowded out the 
oldtime professional minstrel show. Nationally known 
artists, like Primrose and West, Dockstader, Fields, Havi- 
land and O'Brien, were shunted to the sidelines and soon 
forgotten. Once they passed out of the picture, they had 
no successors. Minstrel shows of today are confined mostly 
to amateur performers of local entertainment. But now 
radio has earned the eternal gratitude of the old minstrel 
troupers by reviving their forte from a certain grave and 
winning for it public popularity that it never had in its 
most glamorous days. 

Many of the old minstrel stars are now working in front 
of the microphones since one by one the traveling minstrel 
shows gave up the ghost in the face of empty houses and 
public indifference. Paul Dumont and I are the end men 

in the Dutch Masters Minstrels, the first radio minstrel 
show to be broadcast weekly over the NBC chain. 
"Lasses" White, one of the most famous of them all, re- 
cently was escorted through the NBC studios. He was 
keenly interested and it is likely that he will soon be a 
radio recruit. 

Nowhere was there a group of performers more de- 
voted to their medium than were the old minstrel players. 
Year after year Fields and Neal O'Brien took their shows 
from coast to coast. Gradually they lost their hold on the 
public. Finally they died. Sugar Foot, the famous end 
man, died of a broken heart. Others dejectedly went into 
one-act vaudeville minstrels, a poor substitute for the real 
thing. A few turned to radio, then in its very first days, 
believing that it could restore their medium to public 
favor again. I was one of these. 

I find that adapting the. minstrel show for radio has 
strengthened it. I believe the chief cause of the final 



demise of the minstrels on the stage was their great length. 
Three hours of the same sort of entertainment proved too 
long. It was all .right while there was no competition. 
But, once the movies and the girlie-girlie shows came along, 
it was just a matter of time before the minstrels died. 

The radio minstrels compress the best of the old stage 
shows and discard the things that are not so good. You 
have a few good ballads by the tenor with chorus, a few 
wise-cracks by the end men and a few comic songs. Add 
a rag or two by the band, and you have a good show. 

I've trouped with the best of 'em and there's nothing 
in the life. But just the same, I'd like to go out with a 
show again. You have no idea the pleasure there is in 
putting on one of those long coats, a silk hat, and parad- 
ing around through the streets behind a band. 

And there's a lot of fun. The people always liked us 
so well they sometimes took part in the show. Once I 
played a little town in Mississippi where an old farmer 
decided I wasn't blacked up right and he kept telling me 
about it. Right through the show 
he sat in the fourth row, talking 
about my make-up. He inter- 
rupted, but we all had a lot of fun. 

Sometimes it's tough, just as bad 
as it can be. It's bad in the win- 
ter when you have nothing but 
cold water to wash the burnt cork 
off your face. Many times I have 
come to my dressing room and 
found my bucket of water frozen. 
I had to take a hammer, break the 
ice and then wash off the cork. It 
was pretty bad, but you have no /£koS s ' 

idea how good I felt when I was k^v 

through. No, sir ! There's noth- 
ing as refreshing as ice cold water 
in zero weather. 

Public Likes Clean 

But, to get back to our story, 
the following built up by the Al Bernard and Paul 

Dutch Masters Minstrels proves 

again that the public welcomes any form of clean enter- 
tainment that possesses real merit. Up to the present it 
is safe to say that our minstrel show has been heard and 
enjoyed by more people throughout the country than any 
other minstrel show that ever appeared before the public. 
The proof of this is in the thousands of letters that have 
been received from radio fans in all parts of the country. 

Our Dutch Masters' Minstrel group is really a minstrel 
stock company. The members must rehearse and present 
a new show every week. But that is all part of a show- 
man's life. One of the best features of our radio show is 
that it has revived interest in first-class minstrel shows. 
Old timers get a real thrill out of hearing the old-time 

The Dutch Masters unit is the first to stay on the air 
for an entire year and the first to build up a national 
reputation. Contracts have been signed for 193 and the 
same group will be heard on WJZ every Saturday evening 
at 9:30. 

Paul Dumont, who arranges the programs, is a veteran 
trouper. He endeavors to present shows that will appeal 

to both young and old, preserving at the same time the 
atmosphere of the old-time minstrel show. Mr. Dumont, 
who is a native of Brooklyn, N. Y., came to radio after a 
varied career as stenographer, secretary, salesman, sales 
manager, professional singer and community song leader. 
He served with several stations before joining the NBC 

Difficult to Find Old Songs 

My specialty is singing "coon" songs'that are at least 21 
years old. That's why I do ditties like Bill Bailey, Ain't 
Dat a Shame and I Guess I'll Have To Telegraph My 
Baby. Many times I have great difficulty in finding the 
songs I want for future programs. Sometimes a par- 
ticular song is out of print. On other occasions I manage 
to locate one after hunting all over the city for a week. 

Several times, when I had about decided to give up 
looking for a certain song, somebody sent me an old faded 
copy with a request that I sing it 
on one of the programs. There 
were a few other cases when the 
only way I could get certain songs 
was to have photostat prints made 
of the copyright copies held at the 
Library of Congress in Washing- 
ton, D. C. The ballad singers and 
the quartet also experience diffi- 
culties of a similar nature. 

The fact that we confine our- 
selves to old time songs is, I believe, 
one reason why we can present a 
first class show. We select noth- 
ing but the hits of the past and, if 
they took the public's fancy in the 
old days, the chances are that 
they'll repeat today. They have 
been tried and found worthy. One 
might make up a minstrel show 
with a dozen present-day numbers 
and I do not believe it would please 
2 5 per cent of the radio audience. 

We work harder at rehearsals 
than we do at the show. But the 
actual broadcasting is easier, because we have in Harold 
Sanford, the musical director, a man who will not stop 
rehearsing until every member knows his part perfectly. 
So we have found that the quickest way to get through 
our rehearsals is to settle down to business from the outset 
and learn what is assigned to us. Then again, we don't 
want any slips to mar our broadcast, because we usually 
have an audience at every program of 5 to 100 guests, 
in addition to our vast unseen audience. 

All Artists of Reputation 

Every member of our company is a professional artist 
of reputation. Harold Sanford, our musical director, 
formerly was first violinist, conductor and manager of 
Victor Herbert's orchestras. A native of Northampton, 
Mass., he is a direct descendant of the William Cullen 
Bryant family. He has played with the New York Phil- 
harmonic and Metropolitan Opera House Orchestras. In 
recent years he has figured prominently in NBC programs. 
(Continued on page 45) 

Dumont, End Men 


MARCH , 19 3 

Don Carney « "Uncle 

to More Than 






FROM a Michigan apple cart to a Packard built to 
his own specifications is a jump that very few 
radio entertainers negotiate. And it wasn't an 
easy one for Don Carney, who is Mayor Luke Higgins 
in WOR'S Main Street Sketches every Tuesday night 
and the same station's "Uncle Don" every other night, 
excepting Saturday. 

Mr. Carney is an "Uncle" to more than 300,000 
children who belong to his club. All of them had to per- 
form a good deed in order to qualify for membership. 

Very often he is the court of last resort for parents 
who are at their wit's ends to correct faults in their off- 
spring. The shock of hearing their names over the air is 
usually very efficacious. Carney, however, is very careful 
not to hurt the youngsters' pride and his "bawling out" 
is done by means of innuendo and parallels. 

It isn't unusual for him to ask a child the reason that 
he or she doesn't eat his oatmeal; he will warn a child not 
to scratch chicken pox because doing so will leave scars; 
he will praise an adolescent for turning in a good school 
report card and for all manner of things. And the re- 
action is tremendous. 

"Maybe you think those youngsters are not a grateful 
lot," he remarked to the writer. They send me all manner 
of things. One will send me a piece of birthday cake. 
Fathers will give them cigars to mail. In fact, I've re- 
ceived everything that the postal rules permit in the mails. 

"I do my utmost to mention as many as I can in the 
period assigned to me, but it would take upwards of three 
hours to do the job right. As it is, I take care of those 
who are ill and those cases which need special attention." 

Helps Girl With Injured Arm 

One of the best examples of why parents are fond of 
Don Carney is contained in the case of a little girl who 

lives in the Bronx. A year ago she fell and cut her elbow 
on a piece of glass. The arm became badly infected and 
an operation was necessary to prevent amputation. The 
result of the operation was such as to leave the little girl's 
arm stiff. The surgeon said she would regain the use of it 
if she would bend it constantly. 

Every time it was bent, however, she almost fainted 
from excruciating pain. The arm became stiffer. Finally 
they appealed to Uncle Don to talk with her over the air. 
The stage was set. Don described an imaginary case that 
paralleled the little girl's and he said that the arm got to be 
all right after a short time. Then he mentioned the little 
girl's name. 

"You know, honey," he said, "that if you'll bend your 
arm it will get well, too. Uncle Don is coming up to 
see you just as soon as you can touch your shoulder with 
your hand." 

In exactly three weeks the miracle was accomplished. 
The child is completely cured. She still talks about sitting 
on Uncle Don's lap. 

There are scores of such cases. In fact, most of his 
spare time, little as it happens to be, is spent at some 
youngster's bedside. Sometimes it will be in a tenement 
in New York's Ghetto. Again he will be seen playing 
horse in an exclusive Park Avenue mansion. They all look 
alike to him. "And," said he, "I like to accommodate 
them all." 

Carney's desk looks like the receiving department of a 



warehouse. The writer has seen him wilt under the 
avalanche of mail that sweeps over him. They deliver his 
mail in sacks. Letters have come to him from every state 
in the Union, from many foreign countries and in twenty- 
one different languages. 

When he gets the time to read the letters is a mystery 
to his friends and even more so when it is considered that 
he writes all his own continuity, in addition to such big 
features as Main Street every Tuesday night. That alone 
runs forty-odd typewritten pages. 

"Uncle Don" was born in St. Joseph, Mich., in the heart 
of the peninsula's fruit belt and directly across the lake 
from Chicago. During his high school days he picked up 
piano playing by ear and this same ear has served him so 
well that he has never felt the need of taking any lessons. 
Once is all he needs to hear a melody. 

His first entertaining was in Chicago, where he played 
in a nickelodeon for six or seven hours daily and usually 
without rest periods. "That was good muscle practice," 
he laughed. Later he went into vaudeville which brought 
him to New York. 

On the same tour he became enamored of Louisiana 
and having saved a little money, bought a small plantation 
down there. Then he worked in a lumber yard to get 
money enough to pay for a farm, only to run it into bank- 
ruptcy. After that the soil had no further charms for 

Vaudeville conditions were bad when he returned to 
New York. Hundreds of entertainers were without 
work. "I just had to eat," he said, "so I took a job in a 
shipyard for thirty cents an hour." 

Hard Luck Still Dogs Him 

In a year's time, he became assistant superintendent of 
the yard with a salary of $10,000. In that capacity he 
had charge of the construction of thirty torpedo boat 
destroyers and several transports during the war days. 

Hard luck continued to dog him. Everybody "lost 
out" when the shipping slump occurred in the post-war 
days. "Yet I was lucky enough to get on as an extra on 
the D. W. Griffith lot. Later he gave me a part in 

"Mr. Griffith had a radio set. It was a good one and the 
thing more or less intrigued me. A few days later I was 
passing the Hotel McAlpin and I went into the studio 
where I asked for an audition. They gave me a job as an 
announcer! After I learned microphone technique I was 
drafted by WOR. The rest you know." 

Not long ago, Mr. Carney went over the Keith circuit 
as a headliner, drawing $1,000 a week. He is in constant 
demand for personal appearances and at none of them has 
the audience failed to demonstrate its enthusiasm. 

There is considerable jealousy in the ranks of profes- 
sional entertainers, but there is none so far as he is con- 
cerned. He is absolutely without affectation in any form. 
No one around the station has ever seen him without the 
smile that has made him famous. He has a cheery word 
for everyone. 

Carney has three hobbies. These are his big Packard, 
his summer place on Wonder Lake in the Ramapo Moun- 
tains and shooting at frogs. Notice the "at". He has 
never been known to hit any and, were it not for his 
sharpshooting friends, he would have to buy the frogs' 
legs needed to prepare his favorite dish. 


(By a Radio Artist who chooses to be called Anon.) 

Dame nature has a "funny" way 
Of spoiling our enjoyment 
For everyone who lives today 
Has his or her annoyment; 
And each disease beneath the sun 
Has different germs to bite us 
Now RADIO'S developed one — 
They call it "SPONSORITIS". 

It's thriving like a healthy weed 

Or fungus newly grafted, 

And mercenaries sow the seed 

Wherever sound is wafted 

The artists rave then grow morose 

Because of laryngitis, 

And "fans" then get a stronger dose 

Of this same SPONSORITIS. 

No use to try to save the wreck 

Or prophecy disaster, 

For he who signs the mighty check 

Is boss and lord and master; 

When there's a program spoiled or botched, 

It's money bags who fight us, 

With heavy hearts we've stood and watched 

The spread of SPONSORITIS. 

What man who's making patent mops 
Or coffee or confections 
Would let US go into his shops 
And start to give directions? 
Yet he — Oh, let us kneel and pray! 
And, Mister Fan, please write us; 
We're fellow-sufferers today 
From chronic "SPONSORITIS." 

MARCH , 19 3 


At Home on the High "Qs" 

■ XTO matter how turbulent the ether 
X^| 'waves, these gentlemen go the 
even tenor of their "way, as only good 
tenors do. Pictured below are ten 
or so tenor soloists with real "checks" 



JAMES MELTON (left) !>,.,, , 

- , (right) who came 

top tenor of the Rev- from Italy last July af _ 

elers, is featured soloist ter great success in 

on Friday evenings at opera> is heard f requent _ 

nine on the NBC chain. ] v on Columbia programs. 

T EWIS JAMES (right) 
well - known soloist 
and recording artist, 
sings with the Revelers 
and is featured on Mas- 
ter Musicians, NBC. 

(left) exclusive so- 
loist on the Voice of 
Firestone program, Mon- 
day nights, appeared in 
the Ziegfeld Follies sev- 
eral seasons ago and is 
a prominent recording 
artist. He was with the 
Revelers in the early 

one of that rare spe- 
cies of real top tenors, 
sings with the New- 
Yorkers Quartet, Ram- 
blers Trio, Davey Quar- 
tet and with the Salon 
Singers, NBC. Original- 
ly from Pennsylvania, he 
■was on the stage for a 
while and then turned 
to radio, with great 

qpHEO ALBAN (right) 
sings with B. A. 
Rolfe and his orchestra 
on Saturday nights at 
ten. You will recognize 
his voice in the lilting 
signature song "Lucky 
Day," which opens and 
closes the program. 



(left) comes from 
the sunny South and 
sings with the Armchair 
Quartet and on other 
fine NBC programs. 


JOE WHITE (left) was 
skyrocketed to fame 
a few years ago as the 
mysterious "Silver 
Masked Tenor." He is 
now an NBC star. 

^"^ (right) for many 
months was featured on 
the NBC as the "Gypsy 
Tenor." He was one of 
the original members of 
the Evening in Paris 
group and is now ap- 
pearing regularly as so- 
loist on the Jack Frost 
program. A boy prodigy, 
he has continued his ca- 
reer with marked success. 



Mr. Average Fan 


Some Of His 



JUDGING from the comments, unfavorable and other- 
wise — generally otherwise — received concerning my 
ideas of radio programs in the December isssue of 
Radio Revue, your editor apparently erred gravely in 
dubbing me "Average Fan". If some of my critics had 
their way, I would be classified as a moron or some- 
thing equally as unpleasant. Personally, I know that quite 
a few people agreed with me but so far I have been able 
to discover no one who was willing to break into print in 
defense of my avowed liking for jazz. 

There seems to be something in the very word "jazz" 
that makes some people break out in a rash. When it is 
mentioned they throw up their hands in holy horror and 
say they hate it; that it is loud, noisy and unrythmic; 
that it is blatant, glaring and offensive and a few other 
things too numerous to mention. 
As far as that goes, there are cer- 
tain types of so-called jazz to 
which I object just as strenuously 
as do some of your readers. For 
instance, one of my pet abomina- 
tions — and I have a number — is the 
St. Louis Blues, an old tune that is 
played quite frequently these days. 
In the same category are the Tiger 
Rag, Beetle Street Blues and others 
of the same ilk. 

When I say I like jazz I might 
modify this by saying that I mean 
the tuneful kind, the kind that 
makes your feet move and makes 
you want to dance — if time and 
age would permit. Popular music 
is generally considered to be jazz, 
or jazzy. : If it isn't, the dance or- 
chestras soon make it that way. 
Without shame I confess that I Lew White, One of 


One of my pet abominations is the "St. 
Louis Blue," -which is played quite frequently 
these days. 

Your magazine could do a lot of good by 
choking or otherwise disposing of the aver- 
age singers with the dance orchestras. 

I still think that Jimmy Walker has one 
of the best speaking voices on the air. 

"Buck" O'Neill describes a prize fight like 
no one else can. 

In your prize contest for favorite radio 
artists I would like to cast one vote for the 
Collier Hour girl. 

So far I have never been able to become 
greatly enthused over grand opera. 

Early Sunday afternoon I listen religiously 
to the National Light Opera hour over WJZ,. 

Then, too, I love the Gilbert and Sullivan 
^\ operas, especially "The Mikado." f 

like that kind of music — even though you do hear an 
awful lot of it — much better than I do symphony or- 
chestras, string trios or string quartets. 

Raps Singers With Dance Bands 

While on the subject of pet abominations, your maga- 
zine could do a lot of good by choking or otherwise dis- 
posing of the average singers with the dance orchestras. 
These are generally males — saxophone players or drummers 
— seemingly picked because they have no semblance of a 
voice. This appears to be the case even with the best 
orchestras like Paul Whiteman's, Ben Bernie's, Guy Lom- 
bardo's and others. If they must have men to sing, why 
not pick men who have some qualifications for the job? 
There are so many good singers 
heard over the air that to be com- 
pelled to listen to some of the so- 
called singers with orchestras is 

I read with a great deal of in- 
terest and amusement the letter in 
last month's issue from L. G. Cur- 
rin, of Newport, R. I., the home of 
the idle rich. Was it Mr., Mrs. or 
Miss Currin? There's no way of 
telling, excepting by the general 
tone of the letter. Judging by the 
"timidly" it must be a woman and 
by the statement "I was born in 
the wrong generation," she must 
be a maiden lady, possibly a blase 
society woman. She says she dif- 
fers with me "violently" but, after 
reading over her letter, all I can 
discover is that she doesn't, like jazz 
my Favorite Organists r our own Mayor Jimmie Walker. 

MARCH , 19 3 


A Scene from Arabesque, a CBS feature 

Despite the "lady's" objections to Mr. Walker, I still 
think he has one of the best speaking voices on the air. I 
have never heard him any other way, but I did listen to 
him over the air during the recent mayoralty campaign and 
he so far outshone any of the other speakers that their 
efforts seemed inane. 
Mr. Walker is at his 
best at a testimonial 
dinner. That's where 
he shines most bril- 

Likes "the Man 
from Cook's" 

To my list of ex- 
cellent speaking 
voices over the air 
— omitting the an- 
nouncers — let me 
give you a few of 
my other favorites. 
There is Ma lcolm 
LaPrade, the Man 
from Cook's. He 
paints such vivid 
word pictures that 
one can almost 
imagine one sees the 
places he describes. 

Then there is "Uncle John" Gambling of WOR. Any 
man who can start at 6:45 A. M. and show the pep he 
does deserves a lot of credit. Rabbi Stephen Wise has a 
marvelously ressnant voice. I cannot always agree with 
Alfred McCann's ideas, but his voice comes over clearly. 

Possibly it is another evidence of lowbrowism — if there 
is such a word — but I can get more enjoyment out of lis- 
tening to "Buck" O'Neill, giving a blow-by- 
blow description of a prize fight than I can 
out of listening to a marvelous and, to me, ex- 
tremely tiresome symphony, even if it is de- 
scribed by Walter Damrosch. I can remem- 
ber years ago of being taken, as a special treat, 
to the initial performance of a symphony by 
the Philharmonic, led, I believe, by Mr. Dam- 
rosch. The people went into raptures. I was 
unutterably bored and slept through most of 
it. "Buck" O'Neill describes a prize fight like 
no one else can. I don't go to fights, but I 
will tune into him at any time. He has a breezy 
way of telling you what is going on that is 
vastly superior to any other man I have ever 

Possibly I should feel flattered at the atten- 
tion paid to my humble opinions by John 
Skinner in the Brooklyn Daily Eagle. He 
said he liked my frankness, but he did not 
"like my likes". He finds Amos 'n Andy very 
tiresome and writhes under the unnatural Main 
Street Sketches. I realize that they are exag- 
gerated, but just the same I find them funny. 
He Objects to crooners. That's one dislike 
that we have in common. In Collier's Hour 
Sunday night, January 10, Professor Butts, 
hunting for the missing link, placed the radio 

crooner just one step above the ape and one step lower 
than the missing link. That's the proper place for him — 
or her, for that matter. 

Sometimes I think my taste in music cannot be so ter- 
ribly bad, even though I abhor symphonies and such. I 
greatly enjoy Jesse Crawford, Lew 
White or Fred Feibel, on the organ; 
Jack Cohen, Ohman and Arden and the 
Piano Twins on the piano; Sam Herman 
and Harry Breuer, on the xylophone; the 
Revelers and the Armchair quartets, 
Olive Palmer, Jessica Dragonette, Eliza- 
beth Lennox, Countess Albani and Helen 
Kane, though I will admit that the latter 
is not in the same class with the others, 
so far as voice is concerned. 

Some exception has been taken to the 
fact that in my likes and dislikes I did 
not say anything about the various 
sketches, dramatic or otherwise which I 
liked and disliked. I get quite a kick 
out of the Jones family and their 
troubles here and abroad. Their expe- 
riences away from Onyx, Pa., especially 
Aunt Letty's romantic love affairs, 
cause me much amusement. Durant's 
Heroes of the World; Caliope and Miss 
Kath'rine; the Penrod sketches; Empire 
Builders; "An Evening in Paris"; Gray- 
bar's "Mr. and Mrs."; True Detective 
Mysteries; Arabesque and the "Cub Reporter", are a few 
of my favorites. I always enjoyed "The Gossipers" and 
was sorry to see them taken off. There may be others, 
but these are all I can think of at present. 

I notice you offer a prize for our favorite radio artists. 
I am not seeking a prize or entering the contest, but would 
like to cast one vote for the Collier Hour girl. I never 

miss her. I have 
often w o n d ered 
who she is but 
have never heard 
either her name or 
anything about 
her. There is a 
spontanei t y and 
gayety about her 
work that intrigue 
me. You will 
probably get a lot 
of votes for other 
artists, but I want 
to put in a word 
for the Collier 
Girl. Can't you 
give us her picture 
or tell us some- 
thing about her? 

Expects to Be 

Some of these 
Sunday n i ghts I 
am going to crash 

(Continued on 
page 48) 

The Jones Family. Standing: Aunt Letty and 
Mrs. Jones (played by Dora Matthews and 
Adelina Thomasson.) Jefferson Jones (Robert 
McBride) is seated, and completing the group 
are Genny (Helen Bergavoy), and Jim (Curtis 



Sound Effects Made to Order 
for Radio Programs 


Station Laboratories Furnish Any- 
thing from Hurricane to a Pin-Drop 



THE noisiest spot in the world is not Times Square. 
Neither is it in a boiler factory, in spite of popular 
tradition. It's a little room high above Fifth Ave- 
nue, New York, close to the busy studios of the National 
Broadcasting Company. This is the sound laboratory, 
where every sound effect for the coast-to-coast radio pro- 
grams on NBC networks is born. It looks quiet and or- 
derly enough at first glance, but on its shelves are more 
assorted noises than can be found anywhere else in the 

Thunderstorms and 
hurricanes lie carelessly 
in one corner, side by 
side with the zoom of 
an airplane and the 
drone of Summer in- 
sects. One shelf is de- 
voted to the echoes of 
disaster, from the 
breaking of a window 
to a train wreck. 

If the visitor has a 
colorful i m agination, 
entering this mysteri- 
ous room is a more 
thrilling e x p e r ience 
than midnight in Fin- 
gal's Cave or the Hall 
of the Mountain King. 
If a careless elbow 
merely happens to 
brush a strange con- 
traption hung on the 
doorknob, the affair 

gives forth the sound of booming surf along a rocky 
coast. A bellowing fog horn hangs from a nail nearby; 
next to it is the brazen clang of a bell-buoy marking the 
reef; last, the hoarse voice of an ocean liner far out at sea — 
and the illusion is complete. 

A Passport to the World 

Sitting quietly in this room for a half-hour with 
William S. Rainey, NBC production manager, is to obtain 
a magic passport to every corner of the world. In his 
practiced hands the booming surf becomes the lazy wash 
of sun-flecked waves on a pebbly beach in the South Seas. 

Waiting for the signal to start the "battle" 

Rustling palm fronds and the cries of wheeling gulls help 
to create an actual sensation of tropical heat. 

"Are you fond of riding?" Mr. Rainey asks. Being 
assured that you are, he next wants to know under what 

"It makes a big difference, you see. Look here, in this 
box. Our royal stables. These cocoanut shells and 
plungers — any sort of horse you prefer. A nice, quiet 
mount — so? Clump, clump, clump. Or a more spirited 

steed, like this dancing 
fellow? Clickety click, 
click. The last? All 
right. Here we go, 
then. Watch. 

"We'll start right 
off up this cobbled 
street toward the open 
fields. See how these 
shells on the stone slab 
give the hollow ring of 
shod hooves on cobble- 
stones? Here's smooth 
pavement for a change, 
just by holding the 
shells different 1 y in 
your hands. Now we 
come to softer ground." 
And he swings his 
shells to a box of earth 
lying c o n v e niently 

Or perhaps he'll take 
you back through his- 
tory and let you watch 
loading of the animals into Noah's Ark. For, tumbled 
along his shelves are the voices of every known creature 
under the heavens. 

A Strange Collection of Sounds 

And a strange, laughable menagerie it is. Fierce jungle 
cats and tawny lions hobnob with cows and sheep, without 
ever showing the faintest signs of appetite. Trilling 
canaries and screaming parakeets lie quietly among a pile 
of cats' purrs and meows. Buried somewhere in the heap 
of carnivorous voices is the long-drawn wail of a new- 
born infant. 

MARCH , 19 3 


He Tacific Iinwted 

ode Ukouqa 



(R. KAJiqur (S OmWo^£D 

£ Force 

^e Gjc/c&o SlAKtf r/vi TJhs (REE. 

ns.Tr- T " E 

Dees |\?eTufttf To Tne HwE. 

/; /? o-^ i 

p *6em^ 

-ff(e Lioaj Roars 

:capw th, lwifi- town/ ** Y Gftw/ '"" ^ T * 

Proving that things are not really what they seem over the air. 

The fiercest roars hang on separate pegs along the wall. 
That big one at the last, which is a real old whiskey-keg 
with pierced drumhead and resined cord, is the same "lion" 
that roared from the screen in the first showing of motion 
pictures brought back by Theodore Roosevelt from the 
"River of Doubt" — that fantastic stream that was sup- 
posed to flow uphill. 

Many are the amusing devices developed here by the 
NBC to fool the sensitive microphone. So sharp are its 
ears that, in many cases, the actual sound cannot be used; 

it gives an effect of unreality when magnified to the degree 
that radio "boosts" all sounds. One such case was the 
crackling of underbrush. Snapping actual twigs near the 
microphone sounded like rifle shots, so some substitute 
had to be found. Today the laboratory boasts the widest 
assortment of underbrush and tangled jungle vines to be 
found anywhere — in fact, the same shelf boasts a whole 
primeval forest of rustling leaves and swaying boughs- 
It's commonly called a whiskbroom. 

The thunder-drum is a terrifying instrument. Over a 



Sound Laboratories More Thrilling Than Fin gal's Cave. 

framework of resonant wood six feet square is stretched 
a cowhide. The usual sheet of tin couldn't fool the micro- 
phone, which only emphasized its futile metallic rattle. 
The special thunder-drum had to be built, in order to 
create satisfactory rumbling echoes. 

There's a whole row of assorted drums and tom-toms for 
various effects. The newest use, perhaps, is the complete 
"airdrome" mounted on one board three feet square. Elec- 
tric motors whirl leather strips against different drum- 
heads at varying speeds, from the slow sputter of warm- 
ing motors to the high-pitched drone of the take-off. The 
"garage" is only two feet square. On this board is 
mounted an assortment of auto horns to represent different 
cars. There is even a siren to help the excitement of fire 

In the development of wind effects, however, perhaps 
the greatest strides have been made. Nearly everyone is 
familiar with the common "wind-machine," a revolving 
drum of laths swishing against a canvas strip. The faster 
the drum is whirled, the higher the wind shrieks. But it 
gives only one artificial note. Today, however, the NBC 
wind machine is hard to describe. Perhaps the only part 
that matters is the megaphone that comes out of one end, 
through which the sound emerges. Behind this mega- 
phone, somewhere in its complicated interior, is a whole 
series of wind-whistles — all specially tuned so that, when 
sounded together, they produce the ghostly discords be- 
hind the principal note that everyone hears in actual wind 
noises. Actors who work with this machine say that the 
studio temperatures seem to drop thirty degrees the mo- 
ment it begins, and that it is so realistic they find them- 
selves shivering before their script requires it. 

Judson Has Sound Effects Table 

By Dorothy Conway 

The Judson Radio Corporation has also made a great 
study of sound effects. One look at the contrivance rigged 
up by A. W. Nichols, its sound effects man, would con- 
vince anyone of the seriousness of the profession. The table 
controlling all the sounds was built by Mr. Nichols, and 
it took him nine months of steady work, with each day 
averaging from ten to fourteen hours. The effects on this 
table comprise: chimes, heavily muffled crash, thunder 
sheet, train effect, riveting machine, motorcycle, machin- 
ery, aeroplanes, heavy motor exhaust for fire trucks, 
motorcycle and auto races, two fire truck sirens, trolley 
car with bells and exhaust, rumble wagon, metal crash 
effect, wind machine, heavy ratchet, rapid-fire machine 
gun for firing 5 00 shots per minute, glass crash, revolver 
or rifle machine, rain and ocean effect. 

Large Assortment of Sounds 

The left side wall has whistles of all sorts; train, ocean 
liner, police, cuckoo, cow bawl,, toy horns, sirens and ex- 
haust. On the top are bear growls, lion roars, imitation of 
dogs, sea lions, monkeys, elephants and pig squeals. The 
right side wall is for door bells, buzzers, wireless, tele- 
graph instrument, telephones, auto horns, fight trip gong 
and signal gong. There is also a horse effect, anvil, buzz 
motor, gear machine, sand wheel, door slam, ticking of old- 
fashioned clock, nose blower, slap stick, castanets, tam- 
(Continued on page 44) 

MARCH , 19 3 


In Memoriam 

A Tribute to 





Eastern Program Director, N. B. C. 

Colonel C. T. Daiis in his best known 
role "Old Man Donaldson" 

RADIO sustained a loss that cannot be re- 
placed when Colonel C. T. Davis died. His 
part in the building of radio broadcasting 
was an important one — how important only we, 
who have been close to broadcasting since its 
laborious birth, can appreciate. His role was that 
of a gentleman adventurer. He would attempt 
things on the air of which no one else had 
thought, and what he did was accomplished with 
good taste and a sincere appreciation of artistry. 

Many phases of our present technique in dra- 
matic presentation were originated by Colonel 
Davis. He had the vision of an artist and the 
energy to recreate his vision into something that 
was usable. In the archives of broadcasting are 
many programs, still remembered, talked about 
and used as models, that were his creations. 
Among them may be remembered "Old Man 
Donaldson," "Jack and Dorothy," and "Don 

He had a precious sense of humor that light- 
ened even his most serious efforts and it was a 
delight to work on a program with him. 

Colonel Davis was a sportsman and a gentle- 
man. I do not believe any greater tribute can be 
paid him. He had tact and diplomacy and could 
obtain more actual results from actors working 

with him with a gentle "now, let's try it again" 
than other directors obtain with hour after hour 
of stiff rehearsal. 

Never Mentioned His Pain 

For sheer courage I have yet to meet his equal. 
It is not generally known, but Colonel Davis 
virtually died at work. People closely associated 
with him knew that during the last two months 
of his life he lived twenty-four-hour days of 
pain. They did not learn that from him, for he 
never mentioned it. 

I recall the last time I saw him, a few days 
before his death. He stood erect before my desk, 
his face white and drawn and with little beads 
of perspiration on his forehead. I knew he was 
suffering, for there was every evidence of it, ex- 
cept his own admission of the fact. He never 
made that admission. Instead, he smiled, and 
what a pathetic smile it was to anyone who re- 
membered him when he was well and strong — 
bowed his quaint, courteous bow and walked out 
of the office. 

He walked out of the world that way, smiling, 
courteous and undaunted, thinking of others and 
of the job he had to do, rather than of himself. 




Presenting Popular Performers Wha 


B HI L Spitalny, 
at right, and 
h i s harmonizing 
duo, the Paul sis- 
ters, delight listen- 
ers at 11:30 each 
Tuesday evening 

with their lively 
songs and 
music. They 
over NBC sta- 
tions from 
Hotel Penn- 
sylvania i n 
New York. 
The Palm 
Beach suit is, 
t h e r e f o re, 

ABOVE, Nathaniel Shilkret, the 
"^ famous NBC conductor, one 
of America's most distinguished 
musicians. He has a flare for the 
rousing crescen- 
do that ends 
with a thun- 
dering tym- 

.-., . ' S.i.. _ * 

T_TERE are Rosaline Greene 
and Alfred Shirley, who 
act those thrilling and beau- 
tifully executed scenes of 
famous love stories, heard 
over the National's network 
on Friday evenings at 8:45. 
Here we see them as Madame 
Pompadour and her kingly 
lover, Louis XV, in a short 
sketch of regal romance and 
court intrigue. 

TN the circle 
A is Will Os- 
borne, who 
originated that 
n e w style of 
m i c r o p h one 
technique, pop- 
ularly, or un- 
called "croon- 
ing". Will sings 
over the Colum- 
bia chain every 
evening at 11 
and, Heaven 
help us, we 
can't tell him 
from Rudy 
V a I 1 e e. He 
stoutly denies 
he is an imi- 
tator of the 
great Rudy; at 
any rate, he's 
almost as popu- 
lar with the 
ladies, and his 
jazz band is 
twice as good. 

TCRANK BLACK, pictured at the 
piano, just about makes the Rev- 
elers the great quartet that they are. 
His arrangements and accompaniment 
are, without doubt, the snappiest on 
the air, so the experts tell us. 

'T'HIS group is just as musical as it looks. They 
are the popular Utica Jubilee Singers, here 
presented in a scene from their new talking pic- 
ture. So great had their popularity become as a re- 
sult of their air programs, that they were offered a 
contract to go into the moving and sound pictures. 

MARCH , 19 3 


Pert and Pertinent 

} ut Plenty of Pep in their Programs 

CURE enough, the dis- 
tinguished looking 
gentleman behind the 
microphone is S. Parkes 
Cadman, dynamic Doc- 
tor of Divinity. Al- 
though his subject is, 
of necessity, sober, 
there is no hour on the 
air more chockful of 
pep and personality 
than his Sunday 
afternoon program. 
H i s magnificent 

flow of language 
and ideas is one of 
the wonders of the 
radio age, and his 
fan mail 
makes the 
letter car- 
riers bow- 


TT'S not all blood and thunder in the 
Empire Builders program, heard on 
Monday nights at 10:30 over the NBC 
chain. Here is Harvey Hayes (the Old 
Pioneer) telling Virgina Gardiner that all 
is well with the world. It looks as if 
he's right. 

TpHE gentleman with the overgrown ukulele is Jo- 
seph Rodgers, tenor and director of that lively 
hour, the "South Sea Islanders," heard every Sunday 
night at 11:15 over the National chain. Rodgers was 
born and educated in Hawaii. Consequently, the cos- 
tume and the guitar are more than becoming to him. 



Jl., - ■ 



^-" Ji 



HK jl 

H ;~ 


- Ill Jh 

J> ADIO has few more famous or vivacious quar- 
tets than the Cavaliers, heard over the NBC 
chain every Friday evening at eight o'clock. Left 
to right they are: John Seagle, baritone; Darrell 
Woodyard, bass; David Buttolph, pianist-director- 
back: Robert. Stevens and Leo O'Rourke, tenors! 

npHE sour, hard- 
bitten, old gen- 
tleman in the cir- 
cle is none other 
than Arthur Allen, 
the widely known 
radio actor, in the 
dress and external 
characteristics of a 
Dickens character. 
He is heard on 
Tuesdays at 7:30 
over WEAF and 
the NBC chain in 
those exciting So- 
conyland sketches. 
Mr. Allen, now a 
veteran of the mi- 
crophone, came to 
radio after many 
years on the legit- 
imate stage. Ra- 
dio's gain, we say! 

Y° UR search for pep and personali- 
ty will end when you tune in on 
Wednesday evenings at 9:30 to the 
Columbia chain stations and hear the 
cute little, clever little Glenn sisters, 
Ruth and Beatrice.' 

"^rO more real personality is to be 

found among the air "waves than 

Walter Damrosch, NBC's famous con- 

The kiddies, 

for instance, 

wouldn't miss 

h i s Friday 






nterest in 

vJrand O 
Fast W ani 

AMELITA GALLI-CURCI, whose voice has attracted 
the music-loving public since her debut with the 
Chicago Opera Company in 1916, has left the 
various diamond and golden horseshoes of the Chicago and 
Metropolitan Opera houses, but before boarding the 
French liner lie de France she paused a moment, in the 
studios of the National Broadcasting Company, to sign 
Bertha Brainard's pet piano at 711 Fifth Avenue and to 
express her opinions on a number of subjects. 

"I heartily approve of radio," said the vivacious prima 
donna, in the manner of one telling the truth, rather than 
one who was just "saying nice things". "It has brought 
me some happiness and a much greater audience than I 
even dreamed of in my first days in opera. 

"Tomorrow I sail on the lie de France for Europe, for 
a little recreation and rest. I have had a busy season and 
I need a little sea air. I thought the radio would be an 
ideal way of saying 'Farewell' to all my audiences in 
America at once." 

"I am coming back, and I shall sing again for the radio. 
But when I do I shall miss the friendly faces, the rustle 
of the programs, and (pardon me, won't you?) the warm 

On leaving the scene of her greatest triumphs, the 
Metropolitan Opera House, Madame Galli-Curci did not 
speak in too glowing terms of grand opera. "Opera does 
not conform to modern musical needs", she said. "It is a 
very old-fashioned entertainment, very pompous and slow. 
The opera, after all, is not such a high style of music. 
Worse than that, people throughout the entire world, par- 
ticularly the Italians, are losing interest in grand opera. 



Mme Galli-Curci 


The public and the artists alike feel that it is a little old- 

Happily Married to Artist 

"I am modernistic in my tastes. I like innovations in 
music and I am old-fashioned only in marriage. In that 
fine institution I believe in constancy and I attribute my 
happiness in marriage to the fact that I married an artist, 
but one who is not following my line of work. 

"I do not care much for modern opera. The modern 
composers do not even seem able to write anything to 
equal the older operatic compositions, because such music 
is not in our temperament in this mechanical age." 

"We have no time for contemplation or for thought," 
the diva declared, "and creative work demands both of 
these things. 

Continuing — in the face of urgent protests from Bertha 
Brainard that the little piano-lid was still unsigned — the 
famous prima donna declared her liking for jazz, especially 
for dancing. Jazz was properly rated by the American 
people. It has a definite place in the scheme of music, 
just as caricature has its place in art. "We need more 
fun and freshness," she said, "in this dreary game of life." 

"In filling my engagement at WEAF I was only keep- 
ing step with the times. When I leave this radio station 
I will go straight to my first European concert tour, al- 
though I was born in Milan and heard my first applause 
in Italy. I will sing in eight countries. Next Summer I 
hope to spend in the Catskills, and in the Fall I hope to 
return to the British Isles. A trip of five months' dura- 
tion to the Antipodes will follow." 

Becomes an American Citizen 

In 1921 Madame Galli-Curci took out her first papers 
of American citizenship and married Homer Samuels who 
(Continued on page 47) 

MARCH , 19 3 


Acting A New Sideline 
Oscar Writes 

Girl Friend, MARGY 

As Preserved for the World 
By P. H. W. DIXON 

It looks like your boy friend is going to be a 
success, Margy. I have only been an attashay of 
the National Broadcasting Company for less than three 
months and already I am an actor. Of course, Margy, I 
did intend to make my radio debyoo as a tenor but I guess 
you can't always start at the top . . . note. That's a joke, 
Margy. So I have started up the ladder to success as an 
actor and someday I probably will amount to something 
and be a singer. 

Of course, Margy, I am still a page. Acting with me 
is just a sideline. The show business is all shot to pieces 
and anyone is foolish to be an actor except as a sideline. 
Even us good actors like to know that our income is 

I want to tell you how I 
became an actor, Margy. I 
was discovered by Raymond 
Knight, who is a pretty good 
guy for a production man and 
has a reputation for finding 
real talent. One day when I 
had just finished hunting for a 
bull fiddle that had been mis- 
laid, Mr. Knight stopped me 
on the thirteenth floor and 
asked me if I wanted to act. 
I told him I had not consid- 
ered it seriously but that if 
Harvey Hays was sick or any- 
thing I would be glad to help 
him out. He said Harvey was 
all o.k. but he needed some- 
body to support Harvey in an 
Empire Builders program. And 
I said I would be glad to help 
him out and he told me to 
come to rehearsal at four T^cca — 

o'clock. Which I did. 

That was when I met Vir- 
ginia Gardiner. She's pretty, 

The Page Boy 

"Then they took the quarter back. The show 
business is like that, Margy" 

Margy . . . but 
you needn't worry 
about her. She's too 
tall for me anyway. 
Well, I went to 
rehearsal and Mr. 
Knight gave me 
my script. A 

script, Margy, is the professional name for the part you 
read. Just to show you what the part is I am going to 
write it in right here. You see, in this show I was play- 
ing the part of a messenger boy and I was supposed to 
deliver a telegram to Harvey Hays, who is the Old Pioneer 
in the program. It went like this: 

Me: Telegram for you, sir: 
Hays: Thank you, bud! 
Me: Thank you, sir. 
Now, of course, on paper 
that doesn't look like an im- 
portant role but it really is, 
Margy. You see this telegram 
was very important to the 
plot, and if I hadn't delivered 
it there wouldn't have been 
any story at all. 

Well, we rehearsed our parts 
for quite a while and then Mr. 
Eddie Bierstadt . . . he's a sort 
of writer . . . suggested that I 
wasn't putting the proper in- 
flection on my last speech. 

"Listen, Oscar," he said. 
"Say 'thank you, sir' as if he 
had just given you a quarter 

I tried it but he wasn't sat- 
isfied. Finally he told Mr. 
Hays to really give me a quar- 
ter which he did. Then he 
said my "thank you" was just 
swell. But they took the 



quarter back. The show business is like that, Margy. 
Rehearsing for a radio play isn't as hard as rehearsing 
for a legitimate play, Margy, because you don't have to 
memorize your speeches. You read them from a sheet of 
paper . . . but if you sound like you read them you aren't 
any good, so I guess radio acting requires special ability 
like I seem to have. 

Sound of Train Pulling In 

After the rehearsals on speeches they have sound ef- 
fect rehearsals. These are very interesting. When you 
listen to the Empire Builders program, Margy, you think 
you hear a Great Northern train pulling into a station. 
In fact, it sounds so much like a train that they say a 
fellow who had a radio in his 
automobile tried to beat it to 
a grade crossing one night. 
But it really isn't a train. 

Harry Edison, who is one of 
our best percussionists — a per- 
cussionist, Margy, is a trap 
drummer who makes more 
than $100 a week — is respon- 
sible for the train noise. He 
has a big container filled with 
compressed air and that makes 
the steam sound . . . and he 
has a lot of little trucks run- 
ning around a circular track 
which sound like train wheels 
rolling and he makes the 
"swish-swish" sound on a 
drum and when the micro- 
phone picks up all these dif- 
ferent noises it sounds just like 
a train in the control room. 
Then there is an orchestra, 
too, Margy, which is led by 
Andy Sannella. Andy is quite 
a sheik, Margy, and looks like 
what the well-dressed man 
will wear at all times. 

Anyway, we all got in the 
big studio and rehearsed our 
speeches and the orchestra re- 
hearsed and they tried out all the sound effects and Bob 
MacGimsey whistled and pretty soon Mr. Knight and Mr. 
Bierstadt finally agreed that maybe it wasn't such a bad 
show after all, and we were all ready to go on the air. 
So we went out and got some supper and relaxed until 
it was time to go on the air. 

Tensest Moment of His Life 

As you know, Margy, I have lived through some tense 
moments in my life such as the time your father asked 
me what my intentions were, if any, but the tensest mo- 
ment of all was just before I went on the air for the first 
time. It was very quiet in the studio because John Young, 
the announcer, had warned us we were almost on the air. 
I felt kind of pale and wobbly but Mr. Knight came over 
and patted me on the back and told me that ten million 
listeners were expecting me to make good. Which I did. 

Then the train started and the orchestra started and 

"I felt kind of pale and wobbly''' 

Young started talking and the actors started looking for 
the parts. Pretty soon we were right in the middle of 
the sketch and I knew that at any moment now I would 
have to go into my big scene. I tell you, Margy, it was an 
awe-inspiring moment. Then Mr. Bierstadt gave me a 
shove toward the microphone and I realized the time had 
come for me to speak. So I stepped up and I said: 
"Telegram for you, sir !" 

I hope you heard me, Margy ... I would hate to think 
that you had missed my first spoken words to twenty 
million listeners. Then Harvey Hays looked at me en- 
couragingly and said: 

"Thank you, bud", and he handed me a quarter which 
I put in my pocket. 
So I said to Mr. Hays: 

"Thank you, sir", and I 
meant it, Margy, because I 
was so glad my scene was 
finally over. It was a terrific 
strain to be under. 

May Play Character Parts 

Well, things went along 
pretty well from then on and 
everyone worked hard and 
after the program was off the 
air Mr. Knight and Mr. Bier- 
stadt both told me I had done 
a very professional job and 
that they hoped to use me 
g> IJI again whenever there were 

I pHt any telegrams to be delivered. 

I may decide to specialize in 
character parts like that, 

That's about all there is to 
report, Margy. I think, per- 
haps, I will be able to have 
you come to New York pretty 
soon as when I get to be an 
important actor I will insist 
that I name my own leading 
lady. And you know, Margy, 
who my leading lady will be. 
Just as you are my leading 
lady in our own life drama so you will be in my profes- 
sional career. 

That's all tonight, Margy ... I am very tired account 
the strain I have been under. 

By the way, Margy ... if you happen to be near the 
Yoakum Herald office, you might tell them about me. It 
would make a swell story tor them. The headline could 
be "Home Town Boy Makes Good." 

Goodnight, Margy, and love and kisses. 

Your Oscar. 
P. S. — I am sending this special delivery. Mr. Hays for- 
got to ask me for the quarter. 

Hudson County Radio Show 

A successful radio show was held from February 10th 
to 16th in the Armory Radio Salon, Jersey City, by the 
Hudson County Radio Dealers, Inc. The list of artists 
what volunteered their services would be a veritable 
"Who's Who" of radio. 

MARCH , 19 3 


The Two Troupers 

Delve Into Dark Past 


Marcella Shields and Helene Handin 
"Authorize" Joint Statement of Facts 

Scene — A sitting room 

Place — New York City 

Time — 3:3 P. M. 

Setting — a chair, a table, a telephone and — Miss Handin. 

('Phone rings) 

Helene — Hello — Hello — yes Oh, hello, Marcella- 

where are you — in the lobby? — Oh, well, come on up. 

('phone clicks.) 

Marcella — (Knock on door) Helene! Helene! 

Helene — Come in. — 

Oh, hello, Marcella, 

late again, or should 

I say — as usual? You 

know, they ought to 

call you "The late 

Miss Shields." 
Marcella — "Well now, 

"Boss Lady," please 

don't start on me 

again — I know I'm 

late but I've been re- 
hearsing at NBC. — I 

just got through and 

I've got to rush 

right back to do 

"Miniature Theatre" 


Helene — Well, I can't 

help what you've got 

to do up there, but 

you've got some re- 
hearsing to do right 

here — with pencil 

and paper. So park 

yourself in that 

chair and put on 

your thinking cap — 

if any. I just had a 'phone call from Radio Revue and 

they want us to prepare an article for them — now ain't 

that something? 
Marcella — What about? — Us? — "The Two Troupers?" 
Helene — Of course, "Dizzy." — What did you think they 

wanted? A dissertation on the Einstein Theory? Or 

a treatise on the outcome of Limitation of Arms Parley 

in London? 
Marcella — Oh, well you needn't be so "snooty" 

They want us to prepare an article — not on the Einstein 
Theory either!" says Helene. 

pulling all three dollar words on me. Put a square 

around you and you'd be a crossword puzzle.' 1 

didn't know, since we have become authoresses, but 
what they might ask us to "authorize" about almost 
Helene — Oh, yeah? — Say, does it take much practice to 
be as dumb as you are? Just because we've written our 
own sketches for the radio and been lucky with them, 
don't think we are capable of writing something like 

the History of the 
U. S. in 5 00 words — 
that's Mr. Coolidge's 

job. Besides you 

couldn't limit your- 
self to 5 00 words — 
or 5,000 for that 
Marcella — Say, listen, 
Helene — are we go- 
ing to write an argu- 
ment or an inter- 
view ? 
Helene — Well, it's 
supposed to be an in- 
terview — but who is 
to do the interview- 
ing — that's the ques- 
tion before the house 
at present? 
Marcella — Well, 
look, Helene — we'll 
take turns — you ask 
me some questions 
and I'll answer them, 
and then I'll ask you 
— go ahead. 
Helene — Okay. — 
Well, now, Miss Shields, will you please give me a little 
information about yourself, such as — where born and 
if so — why? — present occupation and do you belong to 
any unions? (laugh) 
Marcella — Well, to begin with — I was born in New 

York City, and my parents were crazy about me 

Helene — Did you say crazy? 

Marcella — If that's intended for a wise crack you can 
keep it. But to get back to my career — I went to 



school in New York too and I'm a comedienenne and 
I'm five feet tall and weigh 108 lbs. and I have light 
hair and blue eyes and I sing and I dance and 

Started "Emoting" at Age of Four 

Helene — Yeah — yeah — yeah — I know that litany and 

people who have heard us on the air certainly know it 

too — they have heard it enough. You know you should 

have it put to music 1 can almost hear it in my 

sleep. Now that that's over — when did you start 

Marcella — I was only four years old, when my mother 

thought I showed signs 

of becoming a second 

Ethel Barrymore — so I 

started playing child 

parts, and did / have 

some swell ones? 
Helene — Yeah — well, just 

Marcella — I played in the 

original production of 

Maeterlinck's "Blue Bird" 

and with De Wolfe Hop- 
per in "Hop O' My 


Helene — Yes — and then 

— and then — 
Marcella — Quit clown- 
ing — this is serious. — Oh, 

yes — then I played the 

little girl in "A Fool 

There Was" and gangs of 

others, including "Jimmy 

Valentine" — "Mrs. Wiggs 

of the Cabbage Patch" — 

"Salomy Jane" and 

Helene — That's enough 

about your childhood, I 

don't think the fans 

want to hear any more 

details about your past 

life. What happened 

after you grew up? Or 

did you? 
Marcella — Well, I went 

into vaudeville until I 

grew up enough to play 

Helene — "How high is up?" You only got up to sixty 

Marcella — Well, that was enough to get me into a musi- 
cal comedy. I was comedienne with "Helen of Troy, 

N. Y." — then ingenue prima donna with the Gallagher 

and Shean show. Then back to comedienne with "Rose 

Marie" — and, oh ! how I loved that show and that part. 
Helene — Very interesting, Miss Shields — and then, what? 

Played Dixie Dugan in "Show Girl" 

Marcella — Then I met Mr. Whyte of the Eveready 
Hour and was engaged to play Dixie Dugan in "Show 
Girl"— and THEN-I-MET-YOU ! 

Helene — And that was something. 

"No." says Marcella, putting a blonde strand in 

place, "I'm not one of those girls who raves and 

tears her hair about Rudy." 

Marcella — Somepin is right — but just what, I haven't 

found out yet. 
Helene — Aw, now, Girl Friend! 

Marcella — (Giggle) Say, listen — isn't it my turn to 
ask questions now? You better get in a little about 
yourself, or I'll be crowding you completely out. 
Helene — Not while I'm conscious, "Stark Love." All 
right — here goes. I was born at an early age in Fair- 
field, 111., as was also Senator Borah. 
Marcella — That's a help! What does that make him? 
Helene — Prime Minister of Congress, Will Rogers says. 
— But keep still — you had your inning, I now have the 
floor. I made my debut at two years of age speaking a 

piece at a Presbyterian 
strawberry festival in 
Fairfield. Then my fam- 
ily migrated to Utah, 
where I was educated 
and, after graduating 
from high school, I 
taught country school at 
the age of sixteen. 
Marcella — Oh, my — 
weren't you smart? I 
can't imagine you a 
country school teacher — 
but, then, I never saw a 
country school teacher 
because I was born and 
bred here in little old 
New York. 
Helene — As you said be- 
fore. I really got my 
start, dramatically speak- 
ing, in Salt Lake City, 
where I sang in high 
school and acted in home 
dramatic shows. Finally 
I was discovered by a 
manager who offered me 
a job in his company, so 
I trouped to New York. 
— the goal of every am- 
bitious would-be actress. 
Marcella — And what 
happened then? You be- 
g i n to interest me, 
Helene — Oh, hush ! Then 
I went into musical stock as prima donna and later was 
prima donna of several musical shows. After that I 
went on the road in vaudeville with Santley and Sawyer 
and later was with "The Dove", the Willard Mack show 
that Belasco produced. My last production was "The 
Scarlet Fox." 
Marcella — I'll bet that was a thrill, working for Bel- 
Helene — It sure was. I hated to leave his management. 
I had my own act in vaudeville, a comedy sketch writ- 
ten by Mr. and Mrs. Willard Mack. Then I went to 
my beloved California with "Gentlemen Prefer Blondes." 
Marcella — What do you mean "beloved." I thought you 

were a Utah and 111. fan. 
Helene — Oh — But Cal. is my real love — I'm as dippy 
(Continued on page 46) 

MARCH, 19 3 


Evening Stars Program 

an Interesting 


in Good Will 


EVERY Wednesday afternoon, millions of listeners 
throughout the United States and Canada welcome 
the familiar melodious strains of the Evening Star 
aria from Wagner's immortal opera "Tannhauser". This 
is the theme song that announces that the Evening Star's 
program is on the air. 

This signature does not merely mark the opening of just 
another program, to be presented from the N. B. C. stu- 
dios. It has another significance. It implies that, as a 
member of a large, international family, one of its asso- 
ciated stations is to be honored by having an entire program 
dedicated to it and to the territory it serves with the finest 
radio program available. 

The underlying purpose of this particular weekly feature 
is a desire on the part of the National Broadcasting Com- 
pany to honor each of its associated stations which are 
vitally important to this widespread organization. The 
Evening Star's program has made it possible during the 
past ten months, for each station associated with the NBC 
to send its own story out over the transmitters of over 
thirty stations from the Atlantic Ocean to the Rocky 
Mountains and from the Gulf of Mexico to the Dominion 
of Canada. 

Unique Good-Will Feature 

From the standpoints of information, interest and en- 
tertainment it may be stated that the Evening Star's pro- 
gram is the most unique type of weekly good-will feature 
that has so far been attempted in the field of broadcasting. 
It has not been duplicated on the air up to the time of 

As its name implies, famous microphone personalities, 
usually heard only during the evening hours, have been 
presented to the vast afternoon audiences during this series. 
In addition to the short, but highly interesting announce- 
ments which each station has made during its particular 
dedication program, guest artists and speakers from all 
parts of the country have participated on many occasions. 

Donald Withycomb 

Station Relations Department, NBC 

The radio audience has heard the Governor of Alabama, 
the presidents of several chambers of commerce, and many 
other notable personages tell the story of how the asso- 
ciated station endeavors faithfully to serve its own terri- 
tory. Many of the stations accepted the invitation to 
send to the NBC's New York studios their chief announc- 
er, as well as a guest conductor, with vocal and instru- 
mental artists who are well-known and loved by their 
local radio audiences. 

To the Evening Star's program each week, Ludwig Lau- 
rier, the distinguished conductor of the Slumber Hour, and 
his augmented concert orchestra, have added color and 
interest in the rendition of works of the great masters. 
The Evening Star's program was a successful experiment. 
Newspaper and magazine articles, as well as thousands of 
enthusiastic letters, confirm this statement. 

Any experiment in the field of public relations and good 
will is usually both interesting and beneficial to all con- 
cerned. Radio broadcasting, as it is now developed, has 
placed before all of those who are intimately connected 
with this industry a limitless opportunity to build up and 
preserve that feeling of international good will which is at 
once an inspired labor and the greatest obstacle to misun- 
derstandings and possible wars. 



The Radio Infant Grows 

RADIO broadcasting has been called "the fastest 
growing industry." Here is what happened to the 
National Broadcasting Company during 1929, accord- 
ing to the annual report of M. H. Aylesworth, presi- 
dent of the company, submitted to the Advisory Council 
of the organization recently. 

Fourteen stations were added to the national network, 
including one Canadian station. The network now in- 
cludes 73 stations. 

Gross revenue of the NBC in 1929 totalled more than 
$15,000,000. There were no profits. 

Fifty-four hundred miles of wire were added to the 
NBC System, bringing the total to 3 2,5 00 miles of wire 

More than one million letters from listeners were re- 
ceived in the year. 

The personnel of the NBC was increased from 5 5 8 to 
917 in 1929. 

Sixty hours of programs a week were added to the 
regular schedule of broadcasts from the key stations of 
the network. 

The President of the United States spoke thirteen times 
over a national network. There were twenty-seven ad- 
dresses by cabinet members, twenty-eight senators were 
heard and twelve members of the lower house made ad- 

Virtually the entire population of the United States 
can be entertained or informed by one program in the 
same hour. 

Radio and Religion 

THROUGHOUT the land here and there has occa- 
sionally arisen the sad wail that the radio is empty- 
ing the church, because a lot of devout people now have 
the means of taking their religion along with a cheering 
cup of coffee, or something like that, from the depths of 
a favorite armchair. Even this comfortable picture does 
not seem able to dispel the gloom that has settled upon 
the small but unsuccessful church. Like most clouds, this 
one has a real silver lining, and 
we do not refer to the silver 
that is put into the collection 
plate. ■ 

A survey of five famous 
churches in New York reveals 
the astonishing — to most of us 
— fact that it is difficult to find 
a place in any church on regu- 
lar service days, and particularly 
on Sundays. Further astonish- 
ment may be provided in the 
proven fact that a lot of nice 
people, unable to find seats, are 
content to stand at the back of 
these churches. There may be 
reasons for this but, so far as Hello, folks! Dis 


we can see, the radio has filled, rather than emptied, the 
five typical churches visited. 

It is true that there was in each case a live priest-in- 
cumbent imbued with the power to hold his people, backed 
by culture and a certain amount of personality, beautiful 
music supplied by a first-class organ, a competent choir 
ably led by a skilled musician-organist, often reinforced 
with some instruments of the string family, a few brasses, 
and occasionally a harp. The ordered service was evident- 
ly rehearsed and housed in an imposing and dignified struc- 
ture, but there were no vacant seats. 

May we not claim that the radio has created in the 
hearts of people a desire to participate in these great serv- 
ices of the church, just as it has brought many thousands 
of them to the radio studios where they can join, not 
only in the weekly religious services, but also in the ar- 
tistic and commercial broadcasts? 

We do not wish to be flippant on a serious subject, but 
the day cannot be far off when tickets for church services 
— now subject to distribution by application for special 
services — will have to be purchased on the sidewalk from 
speculators, just like those for the first-class theatres. And 
on this great day we believe that radio will properly be 
able to claim its share of the credit! 


The Interfering Client 

ANY times, without thinking, a listener will severely 
criticize a broadcasting station for putting a certain 
type of program on the air. The particular program prob- 
ably merits the criticism, but, in most instances where the 
program is commercially sponsored, the blame should not 
be placed at the broadcasting station's door. 

Unfortunately, the radio seems to have fallen into the 
same category as the newspaper, in that the average busi- 
ness men, no matter what his line may be, firmly believes 
that he can stage a radio program or run a newspaper 
better than the people who have spent the better part of a 
lifetime in perfecting their talents and abilities along 
these lines. 

The^average business man is certain that he knows what 
"the public wants". He bases his opinion most of the time 
on his own personal likes and dislikes, or on those of his 
wife or relatives. If his company is in any way interested 
in radio broadcasting, he immediately starts to play with 
this attractive, but expensive toy, radio. He has very 
definite views as to what constitutes a good radio program 

and he proceeds to carry out 
these ideas. 

The large broadcasting sta- 
tions and chains are all equipped 
to originate, write, cast, rehearse 
and produce practically any 
kind of a radio program for a 
client. Then, too, many of the 
advertising agencies have cre- 
ated special departments to han- 
dle radio broadcasting for cli- 
ents who wish to include this 
new medium of advertising in 
their general plan of magazine, 
newspaper, billboard, direct-by- 
mail and other advertising. 
fight sure was a cinch. {Turn to page 45) 

MARCH , 19 3 


Soprano Modulator 

Radio's Latest Wonder 


Newest Invention Disposes of One of 
Industry's Most Difficult Problems 


Manager of Plants, Orchestrations and Racketeering 
National Broadcast. ng System 


_^ TJDITOR'S NOTE — News of this latest de-\^ 
Cj velopment in radio science is likely to set 
the musical tvorld agog. I. B. Hansom has 
again stepped into the breach; in fact, he has 
actually put his foot into it, with the an- 
nouncement (exclusively in Radio Revue) of 
his soprano modulator, which he describes 

~~*\here in his own peculiar style. f 

MOST complex of all the many problems connected 
with radio broadcasting has been what to do with 
soprano. A simple solu- 
tion, arrived at early in the 
history of radio, was to inocu- 
late all sopranos with the 
germs of laryngitis, but this 
was found to be impractical, 
because the sopranos, accus- 
tomed since childhood to ad- 
versity, not only became as 
insensible to the germs as they 
are to insults, but actually 
made pets of the little couriers 
of destruction. 

The forces of nature thus 
failed those who were doing 
their best for the new art of 
radio broadcasting. Although 
many other solutions were of- 
fered, the problem remained in 
status quo, so to speak. It 
was, to state it simply: what 
shall we do about sopranos? 
An interesting problem of a 
like nature is faced in New 
Jersey, and has to do with mos- 

Five years ago the soprano 
problem was turned over to 
my department of the Natural 
Broadcasting System. Finally, 

'Take back, that set you sold me! All it can get is 
static and sopranos/" 

after five years of vast expenditures and countless experi- 
ments, I have developed a scientific solution of the soprano 
problem. It is a device that I call the Soprano Modulator, 
which may be attached to any microphone, but which 
works most efficiently on the recently developed left- 
handed mike (see January issue of Radio Revue). 

Based on IndifFerentiality 

The whole principle of the new device, which is so com- 
pact that you can take it home in a taxicab, is indifferent- 
uality, and so far has the new device been developed that 

its capacity for peak icono- 
clasms is practically nil. 

Within two weeks it is ex- 
pected that every microphone 
in the Natural Broadcasting 
System studios will be equip- 
ped with the Soprano Modula- 
tor — in fact, both of them. 
Therefore, it is fitting that a 
brief description of the new 
device be given. 

To the casual fire inspector 
or to just a visiting fireman it 
resembles a soup can. Prefer- 
ably a can that has held chick- 
en gumbo. (Note to business 
office: If you can sell an ad to 
the Camel Soup Corporation, 
you can refer to it as Camel's 
Chicken Gumbo) . But be- 
neath these simple outlines is 
concealed a complicated mech- 

It was discovered that a coil 
from a 1915 model Ford func- 
tioned perfectly in this device. 
Its pitch coefficient proved to 
be equivocable, and its dy- 
namic potentiality was X-ZX 
(Turn to page 45) 




The popular radio team of Macy 
and Smalle, which has been reunit- 
ed, returned to the air via WOR in 
a new program which runs every 
Tuesday night from 7:30 to 8. Both 
are pioneers on the air. Macy's 
first microphone appearance dates 
back to 1922. 

Macy has been a vaudeville head- 
liner for fifteen years. In radio, he 
created and played the role of 
Hank Simmons in Hank Simmons's 
Show Boat. He played the princi- 
pal comedian with the Columbia 
Light Opera Company in the re- 
vivals of Gilbert and Sullivan and 
other light operas. Mr. Smalle has 
been a Victor recording artist for 
eighteen years and is still making 
discs for the same concern. He was 
originally with the famous Revel- 
lers. One of his biggest hits was 
his arrangement of "Dinah," which 
contained an original humming ac- 
companiment. He has been con- 
nected with many important hours 
on the air, and has toured Europe 
for two years with the Revellers. 
The team is known as Keen Mara- 


Alfred Shirley, before he became fa- 
mous on the radio, was quite a familiar 
figure on the legitimate stage. One 
night he was playing in a Roumanian 
tragedy in a New York theatre. Mak- 
ing his entrance a little late, he became 
excited and lapsed into a rich Lanca- 
shire dialect that upset all the Rouma- 
nian traditions within hearing. 

Often a person does things on the spur 
of the moment that he would not even 
think of doing — if he had time to think. 
Such -was the case one night recently with 
Walter Preston, baritone of the trio that 
sings on the Ingram Shavers program. The 
hour had started. The orchestra had 
played the first chorus. The soloist was 
supposed to sing the second chorus. Walter 
looked around and suddenly realized that 
the soloist was not there, although his 
music -was. So -without thinking twice, 
Walter grabbed the piece of music, -which 
he had never before seen or heard, rushed 
to the microphone and started singing, just 

as the orchestra began the second chorus. 
It all happened in less time than it takes 
to tell and San Lanin, the director, did 
not even realize that another singer -was 
performing. However, Walter did. In 
all his five years of radio -work he says 
he cannot recall ever having experienced 
such a "gone" feeling. By the time he 
had finished that one chorus he -was in 
a cold perspiration and his knees -were 
beating a tattoo that vied with the bass 
drum. However, all's well that ends well, 
but next time Walter says he'll let Sam 
Lanin sing the choruses himself. 

The clever children of the B-A-R-N 
Theatre, on WEAF every Saturday, re- 
cently staged a "broadcasting hour", 
including the great mystery drama: 
"How Many Raisins are There in a 
Raisin Cake?" or "How Father has 
Changed". Howard Merrill, one of 
the juvenile stars of the show, delivered 
the immortal line: "You can't have too 
many raisins in a cake when you're 
raisin' a family!" There was immedi- 
ate talk in the treasurer's office of a 
raisin his salary, of course ! 


Walter Kolomuko can get mad! The 
leader of Hawaiian ensemble appearing in 
WOR's Mid-Pacific hour on Monday nights, 
stood on the sidelines during a rehearsal 
recently, listening to an argument on the 
influence of a country's music on its in- 

"Take Hawaii, for instance," said one, 
"the reason for the laziness of the people 
is the dreamy, langorous strains that they 
'plunk' on their guitars and ukuleles." He 
got no farther. 

"Who told you Hawaiians are lazy?" 
demanded Walter, -who, although he has 
been in the United States for many years, 
is a native Hawaiian. When no answer 
was forthcoming, he went on with consid- 
erable spirit: 

"It is true that much of our music is 
dreamy, but there is just as much that has 
swift rythm. Try to keep pace -with our 
dancers some time and see how lazy they 


Lewis Lane, pianist and composer of 
the NBC music library, like most mu- 
sicians, spends all his spare time listen- 
ing to music. The other evening he at- 
tended the opera at the Metropolitan, 
all dressed up like an announcer under 

the new evening dress rule. The opera 
was Beethoven's "Fidelio" and, outside 
in the lobby, was a gentleman in a flan- 
nel shirt and red necktie yelling, with 
true commercial vigor: 

"Here y'arel Get that book of the 
big show 'Fiddley-Oh.' Here y'are! De 
correct book of 'Fiddley-Oh'." 


Harold Branch, NBC tenor, who 
is kept pretty busy these days, was 
discussing everything in particular 
and nothing in general, with a 
friend the other day. "Yes," com- 
mented the friend, "it's a tough 
life you lead." Harold agreed, and 
added, quite casually, mind you, 
"With me life is just one darn sing 
after another." 


Through the eyes of a "mike" placed 
in the Lincoln Museum, the one-time 
boarding-house in which Abraham Lin- 
coln died, the CBS took its listeners on 
a word-picture tour of inspection of 
this national shrine as a part of its 
Lincoln's birthday program. In Wash- 
ington this historic feature was broad- 
cast by Station WMAL. 

Listeners were conducted through 
the museum by a man who has devoted 
most of his life to a study of Lincoln. 
He is Lewis G. Reynolds, custodian of 
the museum. Mr. Reynold's father and 
mother were at Ford's Theatre Friday 
evening, April 14, 1865, the night of 
Lincoln's assassination. 

It happened, swears a certain press 
agent, in one of our metropolitan broad- 
casting studios. Ray Sinnott, announcer, 
in a burst of pessimism had contracted to 
take out a brand new insurance policy. 
The company doctor had arrived, and -was 
investigating Mr. Sinnott's diaphragm -with 
various interesting instruments. 

He finally drew forth from his black 
bag a stethoscope and put it to the an- 
nouncer's heart. Adjusting one end to his 
ears, the doctor groped hither and thither 
across the Sinnott body in quest of medi- 
cal information. It looked like something 

(Continued on page 3 8) 

MARCH , 19 30 35 



Fine Salesman for Broadcasting 

Perhaps you'd be interested to know that your magazine 
is very popular with the public; in fact, it is classed at 
this early date as the best of its kind on the market, with 
which opinion I heartily agree. From the first to the last 
page one does not lose a spark of interest and learns to 
know the radio voices much better. Your magazine is a 
fine salesman for selling broadcasting to radio listeners. 

— H. J., New York, N. Y. 


Calls "Big Ten" Best Feature 

Please enter my subscription to Radio Revue for two 
years. Here's hoping you never discontinue the best fea- 
ture in the magazine — The Big Ten, Best Selling Popular 
Songs of the Month. It's Great! — H. F., Buffalo. 


Wants Mountainville and Nit Wits 

Your January issue proved my first 
reading of Radio Revue to be a pleasure. 
In response to your editorial, asking for 
suggestions as to what your readers would 
like to see in your magazine, I would like 
to see Yolande Langworthy's picture in 
one of your issues in the near future. Per- 
haps you would run a story on Mountain- 
ville Sketches, too. Miss Langworthy's 
writings are wonderful and her voice has 
that rich warmth that I have not heard in any other artist. 
Maybe the Nit Wits will come in for a write-up soon. I 
sincerely hope so. — M. W. O., Brooklyn, N. Y. 

[The Nit Wit Hour was featured in the February issue 
and Miss Langworthy's picture, together with a story on 
the Mountainville Sketches, will appear in next issue. — Ed.] 


Seeing Owners of Radio Voices 

I was about to write and ask if a radio magazine for the 
listener had ever been thought of and, if not, why not, 
when I ran across the January issue of Radio Revue. I am 
enclosing check for $2 and would like my subscription 
ante-dated to include the first numbers of the publication, 
if this is possible. Of course, the thing of greatest interest 
to fans is seeing the owners of the radio voices. I, there- 
fore, hope for lots of good photographs. Just at present 
Amos 'n' Andy, the Sieberling Singers, Caroline Andrews, 
Alma Kitchell and Arcadie Birkenholz are the ones in 
whom I am most interested. — G. E. M., Woodbridge, Conn. 


Thank You, Seth Parker! 

I have just finished reading Radio Revue with a great 
deal of pleasure. The paper, type, make-up and material 

are all splendid. There is no question but that you are 
publishing the de luxe radio magazine. 

— Phillips H. Lord ("Seth Parker"), New York. 


"It's a Bear!" Says "Uncle Zeke" 

Enclosed please find $2 for my subscription to your 
magazine. I have gone through the current issue and 
think it's a bear! — Arthur L. Greenfield ("Uncle Zeke"), 
Irvington, N. J. 


"The Perfect Radio Magazine" 

Found at last — the perfect radio magazine for the ave- 
rage listener. And I think that is the classification in 
which I belong, having been a rabid radio fan for nearly 
seven years. It is not like most other ra- 
dio magazines, whose publishers have over- 
burdened their columns with technical ar- 
ticles to the extent that you must hunt 
the news that is really of interest to the 
listener. Radio Revue is the one maga- 
zine that you can read from cover to 
cover and appreciate. As a matter of fact, 
I would feel as though I had missed some- 
thing if I did not do this. So, kindly ac- 
cept my congratulations and best wishes 
for the continued success and enter my 
name on your subscription list, for which 
I enclose check. 
I could not find your magazine here, but a friend who 
knows of my keen interest in radio sent me the first two 
copies from the city. I was especially pleased with the 
publicity given to Rudy Vallee and, if I had not received 
my first copy too late, I would have entered the contest. 
But I am going to enter this new one and expect to mail 
my entry tomorrow. In connection with the subject of 
"Radio's Greatest Personality," may I say that I thought 
the prize letters were very good. Mr. Hansen deserves 
special congratulations. Most of all, I enjoyed Dale Wim- 
brow's lines. Let us hear more from the Bard of Broadway. 
His lines on any subject should be entertaining. 

In the article by Mr. Fussy Fan, why does he say one 
thing and then a little later contradict himself? For ex- 
ample, he says he derived real thrills from Roxy's Gang 
and then numbers Roxy among his pet aversions. How 
does he arrive at this conclusion when Roxy is a large part 
of every Gang program. Then he does not care about 
"wise-cracking announcers" and yet picks several as 
favorites who are, or have been, noted for their wise re- 
marks. I heartily agree with his selection of the greatest 
staff of announcers ever assembled, having known or, 
rather, heard of them even before the time he mentions. 
They comprised the Four Horsemen of WJY before this 
station gave way to WJZ and WEAF. I do not wish to 
{Con tinned on page 36) 



Rudy Vallee and Jessica Dragonette 
Lauded in Prize Letters 

HERE are announced the prize 
awards for the best letters 
on the subject of "Who is 
My Favorite Radio Artist — and 
Why?" There are two lists of 
winners, one for January and the 
other for February. The contest 
was extended to allow some of our 
readers extra time to complete 
their letters, but prizes are being 
awarded for both months, accord- 
ing to when the individual entry 
was received, ten dollars for first 
choice and five dollars for second. 
True to early indications, Rudy 
Vallee and Jessica Dragonette led 
the van, Rudy for January and 
Miss Dragonette for February. 
Lack of space prevents us from 
printing all the letters, but we offer 
here the first prize letters for both 
January and February. 

January First Prize Letter 

' I 'HE appeal of Rudy Vallee, its cause and effect, constitutes 
the most burning question of the day. What matter wars 
and rumors of war, the matter of tariff reform, whether this 
vast country of ours be wet or dry, so long as a national prob- 
lem of such gravity and scope presents itself to our puzzled 
minds? And the worst of it is that, even if a referendum 
were held and a vote taken to determine the reason for his 
popularity, the question of what to do about it would still be 

Rudy is beloved alike by matron and maid. To the flapper 
he represents the hero of her dreams. The matron, while 
listening to Rudy croon, lives over again the days of her own 
courtship. Personally, I do not believe the question of age 
enters into the matter at all. His voice is age-less and age- 
old, and the embodiment of all the romantic longings of all 
women — be they sixteen or sixty. 

Sometimes I think that his looks, or the fact that he is a 
young man of good breeding and antecedents have, like the 
flowers that bloom in the spring, nothing to do with the case. 
Again, I reach the conclusion that these attributes are of very 
material aid to him in holding his popularity. It is probably 
a fact that this vivid personality of his, which is so intense 
that it comes right through the microphone and gets up in 
your lap, would not be nearly so pronounced were it not for 
this background of breeding which no one who has it can avoid 
evidencing to some degree. 

But he may be handsome, young, boyish; he may play the 
saxophone in a manner to bring envy to the heart of the Angel 
Gabriel himself, but the greatest lure of Rudy for me lies in 
his singing. His voice in itself is nothing to brag about — 
pleasant enough, but not more so that dozens of others — 
slightly — no, more than slightly — decidedly nasal, but none the 
less fascinating. What then, is it which causes us "hysterical 
women" as we are termed, to hang on his every note? And 
echo answers, what? 

The solution of this problem lies in the fact that he is a 
clever youngster — he knows how to use that voice. He knows 
that every woman likes to feel that he is singing just to her — 
and so he sings to every woman as an individual. The sophisti- 
cated man understands how to bring women to his feet and 

Winners for January 

First Prize — Margaret H. Heinz, 

Second Prize — Frances M. Poist, 
Hanover, Pa. 

Honorable Mention — L. A. Con- 
nors, Cynwyd, Pa.; Oscar Janis, 
New York. 

Winners for February 
First Prize — Margaret M. Lukes, 

Second Prize — Pearl M. Thomp- 
son, South Bend, Ind. 
Honorable Mention — Jean S. W. 
Barnes, White Plains, N. Y.; 
Mrs. Blair N. Reiley, East Lans- 
downe, Pa.; Carrie E. Nichols, 
New Britain, Conn.; Marjorie L. 
Goetschius, Manchester, N. H.; 
Kathleen O'Rourke, Manches- 
ter, N. H. 

uses all his cleverness to do so. Rudy 
makes no effort — he doesn't even know 
what it's all about, but he accom- 
plishes the same result out of his 
sheer naivete. He knows we like to 
be sung to, and so he sings to us. 
Women feel this inherent decency and 
character of the boy, and love him 
for it. With the exception of one 
other, who must remain nameless, I 
would rather listen to Rudy than to 
any other personality on the air or 
screen, in spite of the fact that as a 
real singer he simply isn't — and 
there's a hundred million others like 

It's not much of an undertaking to 
say -wherein lies the reason for Rudy's 
appeal, but to tell why he is so uni- 
versally set upon and scorned by the 
men is a different proposition. I 
shall have to leave this vital point 
for further discussion by someone 
•who is better at explaining the vag- 
aries of the male sex than am I. 

In the meantime, as long as we 
have Rudy and as long as he has us, 
what do we care what the men think? 
They're only jealous anyway. But, 

you know, "Fifty million women can't be wrong!" — Margaret 

H. Heinz, Buffalo. 

Jessica Dragonette is my favorite radio artist. I approach 
Miss Dragonette's hour on the air as I imagine I might have 
walked up the red-carpeted stairs of the opera house years 
ago to hear Jenny Lind. 

Why is she my favorite radio artist? 

1. Because her nightingale voice does all the noblest things 
for me that music can do for man. 

2. Because I have an intense admiration for her as the 
complete artist. 

3. Because her personality comes so clearly to me over the 
air, that after she is finished I always imagine her unseen audi- 
ence dragging her carriage over a road of stars. 

May I enter my vote for Miss Dragonette in the popularity 
contest? — Margaret M. Lukes, Philadelphia, Pa. 

Listeners' Forum 

(Continued from page 35) 

find fault, though, because I really did enjoy it all. I guess 
there would be plenty with which to find fault in my 
ideas along some lines if I were to put these ideas in print. 

The feature entitled Static from the Studios is of special 
interest. Keep it up ! 

Another thing to be commended is the quality of the 
reproduction of your photographs and the legibility of the 
type, something rare in publications of this price. 

I am not particular in my news about the radio artists, 
so long as it is news. And, taking it all in all, I think 
Radio Revue gives it better than any other magazine I 
can name. — F. P., Hanover, Pa. 

MARCH , 19 3 



Eteek Etching/ 




"Many Radio Artists Untrained" 

r 1 1 HE following artists, well-known to radio audiences, 
■*- owe their training to Eleanor MacLellan, of distin- 
guished musical history: Betsy Ayres, Gladys Rice, Evelyn 
Herbert, Peggy Wood, Dan Beddoe, Dorothy Stone, Paula 
Stone, Nydia D'Arnell and Marguerite Ringo, the latter 
now appearing with great success in Italian opera houses. 
Eleanor MacLellan has been teaching in New York for 
the past twenty-five years, and holds a position unique 
among vocal teachers of this city. She has applied her 
method to the creation of radio artists since the inception 

of b r o adcasting. 
She says: 

"I can point to 
all my artists and 
their engagements 
with pride. "With- 
out exception they 
are all working, 
and getting paid 
for their work. I 
believe an artist is 
happier paying for 
lessons in this way 
than by using bor- 
rowed or donated 
money. Indepen- 
dence is a long step 
toward a r t i s tic 

"The t r o u ble 
with about one-half of the artists now before the micro- 
phone is: first, they are without sufficient musical training 
and, secondly, they are without adequate radio experience. 
Why should the great radio broadcasting systems take in 
untrained artists and then have to teach them how to 
speak or sing? 

"When a railroad engineer takes charge of a heavily- 
loaded train, just as when a ship's captain takes command, 
he knows what he has to do. He has had training and 
experience in these matters. Why should not a concert 
singer or a speaker, facing the microphone, know his busi- 
ness, the arts of singing and speaking, the art of poise, a 
few languages, and have a refined accent, pleasing to the 
great air audiences? 

"I am afraid part of the fault lies in the great desire to 
make money without training at all, just as a few un- 
trained musicians have made money. But with the present- 
day competition, how long will they last? If their names 
appear on programs five years from now, I will be greatly 

Eleanor MacLellan's studios are quite near Central Park 
West and they are the center of many a bright musical 
entertainment. She is a gracious hostess as well as a sound 

Pilots Artists' Destinies 

GEORGE ENGLES, vice-president of the National 
Broadcasting Company, in charge of artists and pro- 
grams, is one of the youngest and newest vice-presidents 
at 711 Fifth Avenue. By reason of his comparatively long 
experience with orchestras, conductors, prima donnas, sec- 
onda donnas, and great artists, he can tell you a little bit 
ahead of time just what these ladies and gentlemen are go- 
ing to do. If they are suffering from indigestion or tem- 
perament and refuse to do anything, George can tell you 
that, too. 

Here is his brief, 
but s p e c t acular 
history. He was 
born in these 
United States, in 
the city of Albany, 
capital of New 
York State. His 
age does not mat- 
ter. To our knowl- 
edge he has been 
twenty-one for the 
past ten years and, 
when time and 
work permit, he 
eats very well. 

His first con- 
tacts with orches- 
tras and artists 
date back to 1909, 
when he had charge of the New York Symphony Orches- 
tra under the direction of Dr. Walter Damrosch, and later 
with such distinguished guest conductors as Bruno Walter, 
Albert Coates and Otto Klemperer. The following emi- 
nent artists have been led around this country by George 
and, when they have left the country, they have invariably 
carried with them a little spending money: Paderewski, 
Ernestine Schumann-Heink, Jascha Heifetz, Marion Tal- 
ley, Paul Kochanski and many others of established repu- 
tation and recognized ability. 

George Engles first came to the radio business in May, 
192 8. In the short space of ten months he was trans- 
ferred from the post of manager of the National Broad- 
casting Company's Artists' Bureau to that of vice-presi- 
dent in charge of Artists and Program, as we have said. 
From this dizzy eminence George beams benignly down 
upon a company of nearly a thousand persons, some of 
whom may be numbered among his old friends in the 
treacherous but fascinating music game. 

George plays a fair game of hand-ball, but dire threats 
prevent us from mentioning the reason for this strenuous 
exercise. Suffice it to say that it provides him with much 
healthy enjoyment and offers him relaxation from the 
vigorous strain of his pressing musical activities. 


George Engles 



XtATIC rt>©M the /TUDICX 

(Continued from page 34) 
■was decidedly 'wrong with the announcer's 
cardiac apparatus, for the doctor was mov- 
ing the business end of the stethoscope as 
though it were the dial of a receiving 
set. Finally the radio-minded Mr. Sinnott 
could stand it no longer. 

"Let's see what's on at WMCA," he sug- 


Alma Kitchell, NBC contralto, is 
receiving a wide response to the 
program she sings on Sunday morn- 
ings. Recently the Mayor of Palm 
Beach wrote and asked her the com- 
poser of the very technical number 
she had sung, called "The Anchor 
Song." Alma finally discovered 
that he referred to a song entitled 
"Vainka," by Whishaw. Alma 
■wrote him to the effect that his mis- 
understanding of the title was due 
to poor diction on somebody's part 
and, inasmuch as the title was not 
mentioned in the text of the song, 
she disclaimed the responsibility. 


Raymond Knight recently staged in 
his "Cuckoo Hour", Station Ku-Kn, 
(NBC) a burlesque on Light-headed 
Housekeeping, the complete absence of 
Daily Stock Quotations, the Voice of 
Excelsior, the great mystery drama: 
"Who was Behind Grandfather's Grand- 
father Clock?" or Saved by Eastern 
Daylight Saving Time, and a fake foot- 
ball match between the Alaska Uni- 
versity Walruses and the Florida Col- 
lege Lemon Pickers. It ivas excellent 

tually are. He recalled to them the last 
occasion on which he had seen them in 
person. That was several years ago at 
the Radio Manufacturers' Ass'n show 
in New York, when they came un- 
heralded from Chicago to appear as 
"Sam and Henry." "Say," commented 
Mr. Correll, "we sure were frightened 
on that occasion. We were just about 
scared stiff." 

Amos 'n' Andy, in the persons of 
Charles Correll and Freeman Gosden, 
were in the New York studios of the 
NBC recently for a short visit. The 
Editor of Radio Revue was introduced 
to them and was impressed by the fact 
that they looked like nothing more than 
a couple of enterprising young business 
men — and such, by the way, they ac- 

The Sylvania Foresters Quartet is di- 
rected by Roy Close, which, one ivag 
has remarked, is no doubt responsible 
for their "close" harmony. 


Bobby Reinhart, master of ceremonies 
for the Checker Cabbies program over 
WOR, has given more youngsters a chance 
to appear on the air, than any man on 
Broadway. Bobby is always looking for 
talent, and every Thursday, when the 
"Cabbies" broadcast, you'll hear a new 
voice, in addition to the old standbys, 
Johnny Buss and Phil Brae. Everyone, 
from blues singer to opera student comes 
to Bobby for an audition, and he gives them 
a chance if they have anything at all to 

"You never can tell," says Bobby smil- 
ingly, by way of explanation. "Fanny 
Brice peddled papers down by the sub- 
way, and Rosie Ponzillo didn't seem like 
much when she -warbled ditties in Cafe 
Mellone, back in New Haven. Today, 
Fanny is a headliner, and Rosie Ponzillo is 
Rosa Ponselle, of Metropolitan fame. Why 
not give the kids a hand?" 


John T. Martin, formerly of the 
NBC press department, but now a light 
in the candlestick of Batten, Barton, 
Durstine & Osborne, Inc., (name copied 
from telephone book) reminds us of 
that old gag about asking a postman 
to go for a long walk. He spends most 
of his spare time wandering about ra- 
dio studios. 


Excerpt from a letter re- 
ceived by the National Broad- 
casting Company: "I claim to 
be the only man who can 
neigh like a horse so near nat- 

ural, if you were near where 
there were horses you would 
not think of a human voice 
being able to perform such a 
feat. Possibly this feat would 
work in the Farm and Home 
Hour." AAA 

Alfred J. McCosker, director of 
WOR, and Mrs. McCosker, left recent- 
ly for a West Indies cruise on the Hol- 
land-American steamship Vollendam. 
They will be gone for three weeks, 
stopping at Port Au Prince, Jamaica, 
Colon, in the Panama Canal Zone, Ha- 
vana and Nassau. During his absence, 
A. A. Cormier will be in charge of the 
station. Mr. Cormier is Mr. McCos- 
ker 's assistant and is also in charge of 
the sales division of the station. 


George F. Johnson, president of the 
Endicott-Johnson Corporation, of Endicott, 
N. Y., which recently began a year's 
broadcasting over WOR and the other 
members of the Quality Group of stations, 
WLW, Cincinnati and WMAQ, Chicago, 
is so satisfied with the work of the artists 
on the program that he has granted them 
membership in the "Industrial Democracy," 
which heretofore has been the exclusive 
privilege of the workers. 

Colonel J. W. O'Mahoney, who is in 
charge of Endicott-Johnson's broadcasting, 
read the telegram which conveyed the 
news of Eugene Ormandy, his orchestra 
and other artists at a recent rehearsal and 
the subsequent cheering nearly disrupted 
studio activities. 

Membership in the "Industrial Democ- 
(Continued on page 40) 










MARCH, 19 3 


PrCGCA/H Nctex 

New Programs 

Romances in Biography — ¥MCA — Sat- 
urday, 5:3 P.M. Terse talks on the 
characters of the great, by David St. 
ACO Entertainers — ¥MCA — Monday, 
9:3 P.M. Devoted exclusively to 
Negro music, played by Negro mu- 
sicians, under the guidance of Moe 
Gale, white entrepreneur of Harlem 
East of Cairo— WE AF— Wednesday, 
8:3 P.M. New adventure series, 
telling the exploits of two young 
American soldiers of fortune. Writ- 
ten by Raymond Scudder, with mu- 
sical background directed by Sven 
Von Hallberg. 
Old King Cole Stories— WEAF— Mon- 
day, Tuesday, "Wednesday and Fri- 
day, 5 P.M. Tales, songs and riddles 
for the kiddies, with George Mitchell 
as Old King Cole. Sponsored by 
Rex Cole, Inc., 265 Fourth Avenue, 
New York, N. Y. 
Play of the Month — WABC— Fort- 
nightly, on Tuesday, 6:45 P.M. Out- 
standing personalities of the stage 
presented in connection with a play 
selected for each program. 
Appreciation of Poetry in Youth — 
WABC— Tuesday, 3:45 P.M. Series 
of talks by Harry Webb Farrington 
to children. 
Endicott-Johnson Hour — ¥OR, WLW 
and WMAQ— Sunday, 8 P.M. Sym- 
phony orchestra and symphonic jazz 
band, under direction of Eugene Or- 
mandy, the Boys' Club Quartet and 
"Happy Dan'' Laster, oldest em- 
ployee, in point of service, of Endi- 
cott-Johnson firm, who will provide 
human element in program. 
Know Your United States — WENR and 
W9XF — Thursday, midnight (cen- 
tral time). Musical travelogue, tell- 
ing the world the advantage of liv- 
ing in the United States. Under di- 
rection of Everett Mitchell, chief an- 
nouncer of WEXR. 
Works of Shakespeare — WPCH— Thurs- 
day, 6:20 P.M. Presentations of fa- 
mous plays of Bard of Avon by Clas- 
sic Radio Players, under direction of 
Ben S. Mears, actor and playwright. 
Each play to be broadcast in three 
parts, one part a week. 
Adventures in Citizenship — WEAF — 
Tuesday, 7 P.M. Series of four ex- 
perimental programs presented bv 

Voters' Service, featuring persons 
prominent in public work. 
Yesterday and Today in Medicine — 
WLW— Wednesday, 7 P.M. Series 
of talks on modern prevention and 
treatment of disease as contrasted 
with old methods, presented by Uni- 
versity of Cincinnati, with co-opera- 
tion of Academy of Medicine of Cin- 


The search for novel, unusual 
and entertaining broadcasts is one 
that "grays" the hair of program- 
mers of all stations. In the few 
years of radio's evolution nearly 
everything adaptable to broadcast- 
ing has been used. Instruments of 
all types, singly and in groups have 
found their place before one micro- 
phone or another. 

For the first time in WOR's his- 
tory, however, it presented a "plec- 
trum" orchestra recently for forty- 
five minutes, under the listing of 
"The Serenaders," with William 
Edward Foster, as director. 


A pall was cast over the second per- 
formance of Cesare Sodero's awn grand 
opera, "Ombre Russe," recently, when 
it was learned that Moe Rich, one of the 
violinists in the NBC orchestra, had died 
just before the dress rehearsal. His death 
was attributed to a heart attack, super- 
induced by acute indigestion. While Mr. 
Rich had not long been in the orchestra 
he had made many friends The rather 
sombre setting of Mr. Sodero's opera 
served as an appropriate eulogy. 


Harry Reser and his Clicquot 
Club Eskimos, an organization made 
nationally famous by radio, are sew- 
ing additional service stripes on 
their furry garments. The reason 
is that a new contract between the 
NBC and the Clicquot Club Com- ' 
pany has been signed and the Es- 
kimos will be heard for another 
year through the NBC System. By 
way of celebration they were heard 
twice in one week. The Eskimos, 
now among the real veterans on the 
air, made their first appearance in 
December, 1925. Now in their fifth 
year, they have never missed a week 
before the microphone since. 



who want facts 
on the Jobs new 
often in RADIO 

You will find the true picture of Radio's many 
opportunities for a good job in this book. Here 
are some of your opportunities in Radio. 
Broadcasting Stations use engineers, operators, 
station managers, and pay $1,800 to $5,000 a 
year. Radio Manufacturers employ testers, 
inspectors, foremen, engineers, service men, 
buyers and managers for jobs paying up to 
$15,000 a year. Shipping Companies use hun- 
dreds of operators, give them world wide travel 
and $85 to $200 a month besides. 

Radio Dealers and Jobbers (there are over 
35,000) are continually on the lookout for good 
service men. salesmen, buyers, managers and 
pay $30 to $100 a week for good men. Talking 
Movies pay as much as $75 to $200 a week to 
men with Radio training. Besides there are 
opportunities almost everywhere for you to 
have a spare time or full time Radio business 
of your own — to be your own boss. 

I am showing hundreds every year how to make 
much more money in Radio than they could 
make in their old jobs. J. A. Vaughn, 3715 
S. Kingshighwav, St. Louis, Mo., jumped from 
$35 to $100 a week. E. E. Winborne. 1414 W. 
48th St., Norfolk, Va., seldom makes under 
$100 a week now. My book proves it. You 
needn't give up your job to learn. All I ask is 
some of your spare time. 

I will show you ten jobs that you can do for 
extra money the day you enroll. Throughout 
your course I'll show you additional plans that 
are making $200 to $1,000 a year for hundreds 
of students while taking my course. G. W. 
Page, Noel Block Garage, Nashville, Term., 
made $935 in his spare time while studying. 

My 64-page book tells you where the good 
Radio jobs are. what they pay, how to get one. 
It tells you about my revised and enlarged 
Radio course of over 50 Lesson Books, over 40 
Service Sheets giving information on servicing 
different makes of sets, the 8 Outfits of Badio 
Parts I give for a Home Experimental Labora- 
tory, my Lifetime Employment Service and 
other features. Get it. Bead it. Then yea 
can decide one way or the other. 

J. E. SMITH, President 

National Radio Institute, Dept. OC80 

Washington, D. C 



J. E. Smith, President. 

National Badio Institute, Dept. 

Washington, D. C. OC80 

Dear Mr. Smith: — Send me your book, "Bich 

Bewards in Badio." I understand this request 

does not obligate me and that no representative 

will call. 






XtATIC rccM the XrUDICJ 

{Continued from page 3 8 

racy" means that every artist and mem- 
bers of his or her family will be entitled 
to medical care, with country club and all 
other privileges. It is the first time that 
radio artists have actually been taken into 
the "official family" of any corporation. 


Fully recovered from a three months' 
siege of illness, Jerry Solow recently re- 
turned to the Solow Soloists on WMCA 
Sunday morning at 11 o'clock. Since 
last October, when he was first stricken 
u'ifh spinal meningitis, Jerry had lain 
on a cot at St. Vincent's Hospital. 
There was a time, just before Christ- 
mas, when doctors gave up all hope of 
saving his life. He was placed in a 
glass-enclosed room, treated with oxy- 
gen, and, when he lapsed into a coma, 
a priest was called to administer the last 
rites. But Jerry pulled through. Doc- 
tors declare that the thousands of let- 
ters received from radio fans were a 
vital factor in helping the youthful 
singer back to health. 


Henry Shope, NBC top tenor, ar- 
rived at the studio the other day, 
somewhat excited as a result of an 
encounter with a traffic officer, in 
which Henry carried off a souvenir 
in the form of a ticket for speeding. 
He went to a rehearsal and was 
surprised to learn that he had been 
assigned to sing, as a solo, an old 
English song: "What If I Never 

Little Barbara Loebrich, of NBC pro- 
duction department, recently volun- 
teered to assist in the "mob" required 
to cheer the entrance of Napoleon. 
When the trumpets announced the ar- 
rival of the Emperor Napoleon in 
"Kay" Seymour's "Famous Loves", all 
the mob cheered as directed: "Hail, 
Napoleon, our Emperor" Barbara went 
native American and yelled: "Hail, Co- 

Dolores Cassinelli, NBC soprano, is 
quite upset. Because she's gorgeous 
looking, she has been referred to in a 
number of newspapers as a "Spanish 
beauty."' She's really Italian. Accord- 
ing to Miss Cassinelli, she has received 
dozens of letters from Italian friends, 
who accuse her of changing her colors. 

"Is must be the Dolores that fools 
them," she said. "The Cassinelli part 
is Italian." 


Harold Sanford was conducting 
"The Chimes of Normandy" by 
Planquette at the NBC recently. A 
chain, to be used in producing a 
sound effect, was slung over a music 
stand. Dorothy Ingling, a singu- 
larly inquiring person, came into 
the studio and asked what the chain 
was for. 

"They can't use that here," said 
Ellis McDiarmid, well known flu- 
tist, "that's a Columbia chain." 


When Walter Winchell spoke over 
WABC during the Littmann Program re- 
cently, he related an incident regarding 
an interview he had with Rudolph Valen- 
tino a short time before the late star's 
death. The subject of their conversation 
was a slave bracelet which Valentino wore 
on his wrist and -which was given to him 
by Jean Acker, his first wife. Rudy had 
said that, although many considered it 
effeminate to wear such adornments he 
would always do so because of his great 
fondness for its giver. 

Several telephone calls folio-wed Win- 
chell's broadcast. One was from Jean 
Acker, who happened to be listening in. 
She was deeply touched by the words of 
the columnist and thanked him for the 
tribute he paid to Valentino, who she still 
thinks the finest man she has ever known. 


Merle Johnston, who conducts 
the Ceco Couriers program, heard 
regularly over WABC and the 
CBS claims the highest record of 
any broadcasting artists for ap- 
pearances on commercial programs. 
During his years years on the air, 
Johnston has played on forty-five 

of the leading sponsored features, 
with innumerable sustaining pro- 
grams on the side. 


NBC studios, so cool in the summer 
that they are sometimes called "ice 
boxes," are comfortably warm these 
days, according to the persons who 
work in them. Yet the temperature in 
every studio is constant the year 'round 
— 72 degrees. The difference in out- 
side temperatures accounts for the 
seeming difference in studio heat, it 
was explained. 


The largest pipe organ ever built ex- 
clusively for radio use has been installed 
in the studios of Station WCCO, the 
Minneapolis station of the CBS. It is 
a three-manual instrument especially 
designed and built for WCCO after 
four years of experimentation. The 
pipes, chests and other equipment oc- 
cupy two sound insulated rooms at one 
end of the studios, while the console is 
in the main studio. 


One of the most dazzling of the 
hostesses at the NBC's New York 
studios is Her Highness the Prin- 
cess Sonya Brounova, a Russian 



3 wm\ -7 

o ^^ 







; cc 

5 CI 
E €( 





MARCH , 19 3 


"Lessons in Loveliness" 1 



Radio Beauty Adviser <t 


MAKE-UP is the final aid to facial beauty. It can 
make a lovely face look lovelier and it can trans- 
form a "plain" face into an attractive one. Make-up is 
no longer used with the mistaken impression that it will 
cover up skin blemishes, but there are very few complex- 
ions that are flawless enough not to need its artful aid, 
PROVIDED, of course, that make-up is properly selected 
according to the natural coloring. 

It is not safe to be guided by something "for blondes" 
or "for brunettes" because not all blondes have a fair skin 
nor do all brunettes have an olive complexion. There is 
the fair brunette type with a much lighter coloring than 
a creamy or "Spanish" type of blonde. Then there are the 
red-haired types and the in-between type with light or 
dark brown hair and creamy, fair or olive skin. To advise 
you on your personal selection I would have to know the 
color of your eyes — of your hair — the tone of your com- 
plexion — and your age — but here is some general informa- 
tion that applies to every woman. 


Powder should always be a trifle deeper than the tone of 
your skin as a lighter shade emphasizes any lines or 
wrinkles or "hollows" and it is well to remember that 
powder looks darker or deeper in the box or display tube 
than it will look on the skin. If powder "flakes" or simply 
will not stay on, it is usually an indication of a dry skin 
and in that event a bit of your nourishing cream, lightly 
patted in, then wiped off, will act as a protective film and 
a perfect powder base. If powder "cakes" or streaks it 
usually indicates that your skin is too oily. And don't 
forget to powder your forehead. A shiny forehead is just 
as bad as a shiny nose. 


Many women are discovering that rouge in cream form 
gives the skin the most natural effect. Another great ad- 
vantage of a good cream rouge is that it will stay on for 
hours without need of renewing. Think of the comfort, 
the added assurance of knowing that you do not con- 
stantly have to be dabbing on more rouge every fifteen 
minutes or so. 

It is important, of course, to select a cream rouge, such 
as Drezma, which is not too oily or too dry, but just 
creamy enough to blend in easily and smoothly. 

Unlike a dry rouge — a cream rouge is applied before the 
powder. If the skin is dry or sensitive to cold weather, 
a tiny bit of nourishing cream gently patted in, then 
wiped off, makes a perfect base for blending in cream 
rouge. For oily skins — while the skin is still a trifle moist 
with astringent. 

Indelible Lipstick 

The lips should always be more vivid than the cheeks — 
that you know — but they should be of the same tone, and 
should match the color in the face perfectly and, since 
the lips usually have a bit of natural color, it is best to 
use the same shade of rouge and lipstick. 

There is a new indelible lipstick (name on request) that 
is actually and safely indelible, which means that it will 
stay on for hours, no matter how much you talk or eat 
or drink. It gives the lips a soft, "dewy" appearance-^- 
yet not oily, and contains a protective ingredient which 
keeps the lips from chapping. 

One of the pitfalls to avoid in selecting rouge and lip- 
stick is the "in-between" shades. You are more certain to 
get an attractive, natural effect by selecting either light, 
medium or dark, according to your own personal color- 
ing, and then taking a moment or so to blend in the rouge 
evenly — and to apply the lipstick so that it will emphasize 
the lips, alluringly, but not obviously "painted". 

For the next "Lesson in Loveliness" I will tell you just 
how each type of features should be rouged — to make a 
round full face appear more oval — a thin long face look 
pleasingly rounded — to minimize high cheek bones — so 
you can practice it before your own mirror. 

[Editor's Note — This is the first of a series of "Les- 
sonsn in Loveliness" by Miss Vinick which will appear 
every month in Radio Revue. For information on 
your beauty problems, address Nell Vinick, Beauty 
Adviser, in care of Radio Revue, Six Harrison Street, 
New York, N. Y.] 

Radio Gives Actress Greater Thrill Than 
Does Stage 

(Continued from page 9) 

whom are individual, can you wonder that I find radio the 
most interesting field in the world? Yes, it's because of 
the people and I know you all agree with me. That's 
why I'm writing — so that I can put some of these people 
into stories and let the rest of you know how interesting 
this place is. 

Do I like working with Miss Le Gallienne and her com- 
pany in the Civic Repertory broadcast? I should say I do. 
I played with Eva once, several years ago, and I still think 
she's the most remarkable actress in the theatre today. 
It's been great to work with her again. 

Would the plays I appeared in be of interest? Let's see 
— there was The Girl With the Green Eyes — I was she — 
In the Next Room, East Side, West Side, Shanghai Ges- 
ture and many others. 

Yes, I've done movie work, and I hope to do more, at 
some future time, but just at the moment I'm more in- 
terested in radio. It's like a growing child, and I want to 
help it grow. I want to try out new ideas, to write new 
stories, to find out what the audiences like, to work out 
new sound effects with our expert, Harry Swan, to adjust 
words and music in such a way that you can all see the 
picture of a Russian village or the poetry of the Mexican 

And let me say here, if you think your letters don't 
mean a great deal to us here at the studio — well, you're 
mistaken. I guess there's nothing more to say, so I'll sign 
off now. This is Georgia Backus, taking the air over the 
Columbia Broadcasting System. 



Radio in the Hcme 

Edited by Mrs. A. M. Goudiss 

Founder and Manager of the Forecast School of Radio Cookery, NBC 

JTJDITOR'S NOTE: We deeply regret thatV 

_^/ Cj the serious illness of Mrs. Julian Heath V — 

precludes us from printing her department 

this month. We are indebted to another 

enthusiast for the home and sane cooking, 

Mrs. A. M. Goudiss, who has literally stepped 

into the kitchen for us, although her invi- 

"~N. tation to housewives is: "Come Out of the .^~ 

) Kitchen." f 

Come Out of the Kitchen 

Good M or n i n g, 

It is my belief 
that the worst 
thing that could 
happen to this 
country is that the 
housewife, with all 
her new freedom, 
clubs, e m ancipa- 
tions and — if you 
will pardon me — 
complexes, should 
come to hate the 
kitchen, for, de- 
spite the fireside 
and the piano, the 
heart is where the 
kitchen is, in a real 

Of course, it is 

equally disastrous that she should be asked to spend whole 

days and half the nights in her kitchen. Too many 

women, alas ! do 

not realize that 

there is a world 

outside the kitch- 
en door. Women 

had to come out 

of the kitchen to 

meet the rest of 

the world but, at 

the same time, 

they have to 

know it, and rule 

it — make it 

serve them and 

theirs — instead 

of being its 

slaves. I invite 

you, I urge you, 

to come out of 

the kitchen! 

Mrs. A. M. Goudiss. 

Mrs. Goudiss' Real Radio Kitchen. 

Each Tuesday, Wednesday and Thursday morning at 
11 to 11.30 Eastern Standard Time, it is my privilege to 
tell of expert kitchen operations, of foods that build and 
attract, and of a work that is almost gay. I talk gen- 
erally to women, and to women with families, whose duty 
it is to feed their families right, for their own good and 
for the good of their community and country. The 
kitchen must be an airy, pleasant, clean and uncluttered 
place to live in for a little while each day, beautifully 
organized and de- 
lightfully produc- 

Too often food 
talks are stuffy. 
Too often they are 
dictato rial. One 
must eat this and 
drink that, wheth- 
er one hates them 
or not. This food 
is good for one; 
that is h a rmful. 
Why? What is the 
matter with good, 
honest, boiled 
onions and cheese 
or a good scram- 
bled egg if you like 
them? Jot them 
down and give 
them another trial. 

In my office I preach the pleasant sermon of healthful 

food, and back 
of that office I 
have a sunny 
radio kite hen, 
where good 
things are tested, 
cooked and eaten. 
That is the creed 
of this w h ite- 
enamel kitchen, 
manned by ex- 
pert c o oks. If 
you have any 
problems on 
cookery and food 
preparation, you 
may write to me 
in care of the 
National Broad- 
(Con tinned on 
page 48) 

Dr. A. M. Goudiss. 

MARCH, 19 3 


»%♦*♦♦%♦*♦♦*♦♦%♦*♦♦*♦♦*♦♦% ♦^♦♦^♦♦J* ♦^♦♦^♦♦J* ^♦♦•♦♦^♦♦2»*% ♦%♦%♦*♦♦** 









































Have Breakfast 
with the 



EIGHT large feed mills on the Pacific coast — mills co-opera- 
tively owned by the poultrymen themselves — give the hens 
their breakfast and their dinner. 

Giant hoppers pour out the clean, scientifically mixed grain 
— crisp and inviting as your breakfast cereal. 

Think of it! Twelve -million PEP hens, all "laying 
for you," and all uniformly fed on the best grain money 
can buy and experience can select. 

Because of this, each fine, fresh, delicately flavored PEP egg 
tastes exactly like the next .... and the next .... and the next. 

Small wonder that children accustomed to the PEP flavor 
immediately detect the difference, when ordinary eggs are 

Have breakfast with the PEP hens! The egg-buyer 
of a great chain store did just that. Cupping his hand 
under a hopper, he tasted a few of the golden kernels, 
and said: "In my wildest moments, I never dreamed 
of hens being fed like this!" 

Have breakfast with the PEP hens ! Or, if you prefer, let 
the PEP hens supply your breakfast. 

Remember ! PEP eggs are all deliciously identical in flavor. 

Pacific Egg producers 







Seattle. Los Angeles, San Diego, Detroit, Pittsburgh, 
Panama, Buenos Aires, Valparaiso, Lima, London, and Glasgow 

> •"♦♦^♦♦^♦♦^♦•^♦♦^♦♦J. ^««*«^M^« ♦^^^♦♦^♦^♦^♦♦^♦♦^♦^♦♦^♦♦^♦^♦♦^•♦'♦♦^♦♦'♦♦•♦♦^ %♦♦♦* »I**I**> 






Radio Authority on Styles £ 

EDITOR'S NOTE — r/>is is the first of a 
series of articles on fashions by Marie 
Blizard, fashion director of the Columbia 
Broadcasting System. Miss Blizard will be 
pleased to answer any questions on styles. 
Address her in care of Radio Revue, Six Har- 
rison Street, Netv York, N. Y. 

ONE'S initial article in a series on fashions should cover 
the basic principles of fashion — lines, colors and fab- 
rics. Yet each one of these three fundamentals of fashions 
is of such interest and importance that it is quite impossi- 
ble to cover it in a limited 

Besides, much has been 
said of the "new" fashions, 
which are now "familiar" 
ones. The revolution in the 
mode was so arresting and 
its success was so rapid that 
every fashion writer has 
outdone herself in her ef- 
forts to clear up any doubts 
regarding its importance. 

I am going to condense 
my facts . . . and put my 
information into catechism 

I am sure you all recog- 
nize the fact that long 
skirts are in (for a few 
years anyway, regardless of 
public protest) but . . . did 
you know that any skirt 
more than four inches be- 
low the knee for street wear 
is as unfashionable as one 
four inches above? 

You all know that the 
natural waistline is THE 
waistline. Did you know 
that, if you are too high- 
waisted or too low-waisted, 
you should adjust your belt 

to the most becoming placement as near the normal waist- 
line as possible? 

Two-Piece Costume Is In 

You all know that the two-piece dress is out. However 
the two-piece costume is in ! Did you know that silk 
blouses are smarter than sweaters with woolen skirts? In- 
cidentally, a bright red flat crepe blouse worn with a 
brown tweed skirt or a dark blue flat crepe blouse worn 
with a grey tweed skirt are very chic. Did you know that 

the dark or vivid shades are much smarter than pastel tones 
for blouses worn with the new spring dressmaker suits? 
And speaking of replacements . . . that silk scarfs are much 
more dashing than fur scarfs? 

Did you know that Fashion has the blues daytime and 
evening? And that French designers have their eye- 
brows up to the top of their foreheads and their mouths 
wide open in astonishment and wonder that blue . . . that 
lovely bright, light blue they have tried so many times to 
bring back ... is suddenly the smartest of the evening 
colors? And that smoky light blue for daytime and 
hois de rose in flat crepe are grand? 

Did you know that velvet is absolutely out and taffeta 
is absolutely in? That flat crepe printed with clusters of 
flowers is one of the smartest fabrics for evening? And 
that tweed is the smartest of the daytime fabrics? 

And did you know that a band of tulle or chiffon 
around your short evening dress makes it look new and 
smart? And that a touch of lingerie . . . ruffles and cuffs 
of net or organdie ... a shawl or scarf of flat crepe ... 
demure bands of pique . . . always in snowy white . . . 
will make a success of an old dress? 

Now, it's your turn to ask me questions. And I will 
be happy to answer them if you will address me in care 
of this magazine. 

Sound Effects Made to Order for Radio 

(Continued from page 22) 

bourine, Indian tom-tom, Oriental drum, sand blocks, 
bicycle bells, parking auto, fire-works, cap pistols, baby 
cry, chain rattle, sleigh bells, real cloth tearing, sword duel, 
flies, bee buzz, tin pan crashes, cork pulling, falling trees, 
handsaw, acetylene torch, ambulance bell, train bell, crow, 
duck quack, rooster crow, hen cackle, cat meow and many 

Whenever a script calls for any sound effects, Mr. 
Nichols is called upon. The other day some programs 
were being recorded in the Judson studios. The script 
called for the unsheathing of a sword. Mr. Nichols 
achieved the desired effect by casually donning a pair of 
mail gauntlets and producing a sword attached to his 
table, which he simply pulled out of its sheath at the 
proper moment. For the most part, however, sounds are 
produced by mechanical appliances attached to the table. 
He merely presses buttons, and the ocean waves begin to 
roll, a tree falls, a board squeaks. All noises are possible 
with his complicated machine. 

Recently William B. Murray received the following 
telegram from Mr. Nichols: "Ruined my ocean waves stop 
won't be at studio today." All of which goes to show 
that the business of producing sound on the radio is a 
very sad and serious one. 

WABC has acquired an automatic sound-effects machine 
which, by means of pulling ropes and pushing buttons, can 
produce over thirty different sounds. These range from 
the mighty roar of thunder and lions to motorboat whistles 
and ferry-boat sirens. 

The entire machine is housed in a cabinet about the size 
of a modern phonograph. It does not do away with the 
sound-effects man — it merely makes his life easier, al- 
though he is just as important as ever. It takes one a few 
days to "get to know the thing". 

MARCH, 19 3 



{Continued from page 32) 

The average client has sense enough to leave the plan- 
ning and production of his radio program to these highly 
trained specialists. But quite a few clients apparently are 
confident that they know much more about the business 
themselves. These few constitute one of the greatest 
menaces that radio broadcasting faces today. 

The way it works in this: an advertising agency or one 
of the big chains creates a really original idea for a radio 
program. By dint of much persuasion they manage to 
get a client to agree to sponsor this new series of hours. 
All goes well until after the first broadcast. Then Mr. 
Know-It-All, the client, egged on by the opinions, pos- 
sibly, of his better half and her bridge club, starts to sug- 
gest changes — and suggestions from him are equivalent to 
commands, inasmuch as he pays the bills. 

Then follows a hectic period. First, he says the dra- 
matic sketch in his hour is too old-fashioned. Something 
more modern is substituted and then he concludes that 
the sketch might better be omitted entirely. Next he 
starts on the music, which had originally been planned 
purely as atmosphere for the sketch. The music has been 
too classical, he says. People want something more lively. 
So, after as much protest as can safely be made, there is 
no course left but to change the music. Next a speaker 
is substituted for the dramatic sketch and then is with- 
drawn after a few weeks, in favor of a male quartet. 

Now Mr. Know-It-All declares that there is not 
enough variety, so he adds a soprano or a contralto 
crooner to the hour. By this time the original idea has 
been mutilated beyond recognition. The listener, who had 
been led by early publicity releases to expect something 
entirely unusual in radio programs, cynically concludes 
that this is "just another program." The trained special- 
ists throw up their hands in despair at the slaughter of a 
really original idea. And even Mr. Know-It-All finally 
decides that radio broadcasting isn't what it should be and 
that the listeners don't appreciate "real art" in broadcast- 

This criticism is not leveled at the entire broadcasting 
business, nor at any one program, but rather at a condi- 
tion that exists in the industry. If a client is willing to 
pay a big price for the advertising of his wares, and has 
faith in his agents and the broadcasters to serve him to the 
best of their ability, then he should have enough sense to 
leave them alone, and not interfere with those who help 
him most. 

Radio Revives Public's Interest in Old-time 
Minstrel Show 

{Continued from page 14) 

William Shelley, our interlocutor, has appeared in sev- 
eral minstrel companies and has had wide experience on 
the legitimate stage. He has also been heard in a number 
of NBC dramatic productions. 

Carson J. Robison, better known as the Kansas Jay 
Bird, sings humorous songs and whistles in his own inimit- 
able style. He can strum a guitar and play a harmonica 
at the same time. He has composed a number of songs 
and is credited with being one of the originators of the 
fad for hillbilly songs, which started several years ago. 

Harold Branch, first tenor of our quartet, made a repu- 

tation in radio at Cleveland before coming to the NBC. 
He sings leading roles with the National Light Opera 
Company and does quite a bit of concert work through- 
out the East. 

Steele Jamison, second tenor, formerly was soloist in the 
leading church in Pittsburgh. He was one of the early 
venturers into broadcasting and has been on the air con- 
sistently for the past few years, on NBC programs. 

Darl Bethmann, baritone, originally came from Pennsyl- 
vania. During the past few years he has been heard on 
many well known NBC programs, including the National 
Grand Opera, National Light Opera and Tone Pictures. 
His specialty is singing German lieder. 

Harry Donaghy, our bass, has been broadcasting since 
1923. He was a member of the Elite Opera Company 
and has appeared in a number of stage productions. He 
has also been in vaudeville and pictures, and has done a 
great deal of phonograph recording with Victor, Columbia, 
Brunswick and other companies. 

Curt Peterson, who announces our program each week, 
was born in Albert Lea, Minn. He was graduated from 
the University of Oregon with the degree of Bachelor of 
Science in 1920, after serving in the World War as a 
lieutenant of infantry. Before entering the radio field 
Mr. Peterson, a baritone, was a singer and a teacher of 
voice at Miss Mason's Castle School for Girls. 

Soprano Modulator — Radios Latest Wonder 

{Contimied from page 33) 

+ WYQF = AX+12 3, drop one, purl one. A 
slide rule must be attached to the Modulator as any de- 
viation from this equation will change soprano notes to 
those of the tenor, and that is another problem. Two 
carefully tested hetereogenous gaps, one unicellular amoeba 
and a galvanic thyroid, used with a push-pull circuit, com- 
plete the equipment. 

The method in which the Modulator works is quite in- 
teresting. The label is left off the soup can, and the 
soprano, seeing it as she sings, becomes hungry for some 
chicken gumbo soup, which in turn brings out a yearning 
quality that is discouraging to high notes. The yearning 
becomes so great that the poor soprano is forced to desist 
from her singing, so-called, and betake herself to the near- 
est restaurant, where she finds that, sorry, but they don't 
have chicken gumbo soup on Wednesday; but anyway, 
she will have stopped singing, and the good work will 
have been done. 

The device has yet to be tested. 

Electric Clock 

Place it on your radio set, 

and get accurate time for 

tuning in on your favorite 


Tickless, springless, care-free 


Plug in on light socket. 

Case in walnut finish, Bakelite. 

Three inch silvered dial, height 7*4 inches. 

Sent Prepaid — Price $9.95 


26 John Street New York City 




Best Selling Popular Songs of the Month 

ONCE again there looms on the horizon a ray of hope 
for songs other than theme songs from talking pic- 
tures. However, judging from past experience, this 
condition is likely to be only temporary. Whereas last 
month The Big Ten was composed entirely of theme songs, 
this month there are three songs in the list that are not 
theme songs. 

Then, again, the two leaders, Cryin' for the Carolines and 
Happy Days Are Here Again, became widely popular before 
they were incorporated and heard in their respective pic- 
tures. So, for a while at least, it seems that there is again 
hope for the good old popular song. 

During the past month, as compared with the previous 
month, there have been numerous changes in the list. Only 
four of last month's ten remain. These are I'm a Dreamer; 
Aren't We All}, If I Had a Talking Picture of You, A Little 
Kiss Each Morning and The Chant of the Jungle. A number 
of new vigorous songs have appeared and many in the offing 
threaten to break into the charmed circle. 

1. Cryin' for the Carolines 

from Spring is Here (Remick Music Corpo- 

2. Happy Days Are Here Again 

from Chasing Rainbows (Ager, Yellen & 

3. I'm a Dreamer; Aren't We All? 

from Sunny Side Up (De Sylva, Brown & 

4. If I Had a Talking Picture of You 

from Sunny Side Up (De Sylva, Brown & 

5. The Chant of the Jungle 

from Untamed (Robbins Music Corporation) 

6. Should I? 

from Lord Byron of Broadway (Robbins 
Music Corporation) 

7. Congratulations 

(De Sylva, Brown & Henderson) 

8. A Little Kiss Each Morning 

from The Vagabond Lover (Harms, Inc.) 

9. 'Tain't No Sin 

("Walter Donaldson) 

10. The One I Love Can't be Bothered 
with Me 

(Leo Feist, Inc.) 

It will be noticed that we have included the names of the 
publishers of these songs. If there is any further informa- 
tion our readers desire about the popular songs they hear 
over the radio — who wrote them, who publishes them, where 
they can be obtained or in what pictures they appear, etc., — 
RADIO REVUE will gladly answer all such questions. 
Merely write Popular Song Editor, RADIO REVUE, Six 
Harrison Street, New York, N. Y. Enclose a stamped, self- 
addressed envelope if you desire a direct reply. 

The Two Troupers 

(Continued from page 30) 

about it as a native son. 

Marcella — Then, as J. P. McAvoy says, "You're a cli- 
mate salesman", huh? 

Helene — And how very! Well, now, let me me — we're 
down to where we met on the Eveready Hour when you 
played Dixie and I your sister, Nita, in Show Girl, by 
the aforesaid Mr. McAvoy. Now you ask me how I 
came to team up with the effervescent Marcella Shields 

and I say "Well it was in this wise — 

many people suggested that we should work together 
because of the difference in our voices and radio per- 
sonalities, and that the idea was pleasing to both of 
us, but that you were under contract to Eveready all 
winter and I was busy with various radio hours and the 

Marcella — Will you please let me say something for a 
change — I'm about to burst with pent-up information. 

Helene — Hold everything, Gabby Liz, — let me finish my 
part of this interview, will you? 

Marcella — All right — all right — What happened after 
you decided to join forces with the "charming" Miss 

Helene — Well, we first decided that we'd like to present 
some true-to-life snapshots of the vaudeville world, as 
most people are interested in stage life. We conceived 
the characters and proceeded to write our first sketch, 
making me the "wise cracking" and slightly "hard 
boiled" vaudevillian and you, the littel dizzy, "Dumb 


Marcella — And don't forget, that I kept getting 
"dumber" and "dumber" with each script. 

Helene — Then, after a number of auditions at NBC The 
Two Troupers were presented to the radio audience in a 
series of half-hour programs with a jazz band. Our 
signature number, "Two Little Girls in Blue" was Gor- 
don Whyte's suggestion and we considered it a very 
good one. Well, I guess that buttons that up. 

Marcella — Yes — just like your overcoat. (Giggle). Well, 
all there is left now is to put in what we have been do- 
ing lately. 

Helene — Oh, yeah ! — I know what you're all hot and 
bothered about — you want me to tell them that you 
were on the Fleischmann Hour with Rudy Vallee for 
several weeks. 

Marcella — No no I'm not one of those girls who 

raves and tears her hair about Rudy — but I do think 
he's awfully nice, and 

Helene — Yeah — yeah — I know. Why, you even tried 

to put on the dog with me, until Mr. Shilkret used us 
on the Victor Hour that night that Rudy and all those 
big stars were on and we had our picture taken with 
him, and 

Marcella — Well, I didn't notice you exactly ignoring 
him, Miss Handin, but that's enough about that. I 
want to get in about my playing "Alice Through the 
Looking Glass" for Eveready lately and that I'm on the 
Frances Ingram program and The Jameses and — that I 
was in a swell new show, the first one of the Miniature 
Theatre of the Air. 
Helene — That reminds me — I forgot to mention my 
being featured in the Potter series for Eveready last 

MARCH, 19 3 


Summer. Well, outside of the fact that I've also been 
doing various hours, Harbor Lights, etc., I guess there 
isn't any more to tell. 

Marcella — Aren't you going to tell that you are a 
D. A. R. — you always want to brag about that, it 

Helene — Well, why shouldn't I? It isn't everyone who 
had ancestors who "fit" in the Revolution. 

Marcella — Oh — ho — give me time and maybe I can dig 
up a grandmother who came over in the Mayflower. 

Helene — Joking aside, Marcella, I think we'd better cut 
this short, don't you? 

Marcella — I think so, Helene, we don't want to tell 
everything we know. 

Helene — Yea, verrily. — Well, let's make our exit laugh- 
ingly, by telling them about our domestic accomplish- 
ments, such as our ability to cook — sew — keep house 
and drive a car — only we haven't any car! And that 
we both swim and dance and DON'T LIKE BRIDGE 
— and 

Marcella — In fact, we're practically — boy scouts! 

Interest in Opera Fast Waning 

(Continued from page 26) 

often accompanies her. By this marriage the star became 
an American citizen. She recently bought an estate in 
Palos Verdes, near Los Angeles, and expects to build an 
American home there. When not on tour, she spends her 
winters in California, and the summers in her vacation 
home in the Catskills, where she likes to dance, play golf, 
and swim, her preference being in the order named. 

Her farewell to the Metropolitan Opera House, where 
she sang the sprightly role of Rosina in The Barber of 
Seville, that boisterous opera by Rossini — and one of her 
best impersonations — was the signal for a great ovation. 
Those privileged to witness this last performance were 
accorded a feast for the eye and ear. Madame Galli- 
Curci's costume, topped with a bright red Spanish comb, 
made a colorful picture. She played the role in a vein 
of well-conceived and high spirited archness, giving the 
impression that she is far from "finished" with opera, and 
that opera sustains a great loss in her present decision. 

The lesson scene in the third act was graced by the 
famous "Shadow Song" from Dinorah, the principal aria 
of her New York debut in 1916. As an encore, she obliged 
with "Home, Sweet Home." After singing their appointed 
roles, the other members of the cast, Giuseppe de Luca, 
as the zestful Sevillian barber, Ezio Pinza as Don Basilio; 
Armand Tokatyan as the Count; Pompilio Malatesta as 
Dr. Bartolo, and Henrietta Wakefield (that most faithful 
of artists), were called upon to carry forward a veritable 
garden of flowers in baskets and bunches, a very large 
offering from the Metropolitan Opera Company. More 
applause from the audience, a lot more from her fellow 
artists, wavings of handkerchiefs, a little speech of fare- 
well, and the promise of a return some day, then photo- 
graphs unlimited, and more photographs to sign, and so 

In her farewell appearance at the NBC studios, Madame 
Galli-Curci was also prevailed upon to sing "Home, Sweet 
Home". After real applause by the orchestra and the audi- 
ence present in the studio the diva was led away to a little 
farewell party. 




They sat . . 
PLACE" . . 
SONG" . . 

. He said . . . "HONEY 
YOUR HANDS" She said ... "I NEVER 
WITH ME" ... 


(Hey — Hey — Hey!) 


j 755 7th Ave., N. Y. C. 

f~. Earl Carroll Thea. Budg. 

Carson Robison 



to his Radio 

friends the 



of the 




WEST 45th ST. 





Mr. Average Fan Answers Some of His 

{Continued from page 19) 

the gates at WJZ during the Collier Hour and see if she 
looks anything like what I expect from her speaking voice. 
I am afraid I shall be disappointed. If I get a chance to 
speak to her, which I probably will not, I am going to 
ask her to confine her work to talking and to cut out her 
singing. I take it for granted that she is the one who 
sings, after she appears in a sketch. Possibly I am wrong 
and, if so, I want to apologize for even mentioning her 

Since you have been kind enough to give me the oppor- 
tunity to inflict my radio likes and dislikes upon a de- 
fenseless public, there are a few more things I might get 
off my chest and then cease inflicting myself upon you and 
your readers. I realize that all tenors cannot be Frank 
Munns and Franklyn Baurs, but that is no reason why the 
radio audience should be tortured by some of the tenors 
who infest the air. Many of them are good, but there are 
quite a few who persist in singing through their noses, 
which is very noticeable over the air. It has always been 
my understanding that the broadcasting companies hold 
auditions and, in that way, select their talent. How some 
of these tenors and sopranos ever got by is more than I 
can understand. 

So far I have never been able to become greatly en- 
thused over grand opera. I have lived in New York for 
over a quarter of a century and the only times I ever 
visited the Metropolitan Opera House were at the Sunday 
night popular concerts. Grand opera is simply over my 
low brow head. I cannot get any enjoyment out of it, 
outside of a few well known numbers. Consequently, 
while the voices in the grand opera performances over 
the air are undoubtedly the best that can be secured, they 
cause me no thrill. 

For Your Convenience 

In order that you do not miss any of the vitally 
interesting features and pictures that will appear in 
RADIO REVUE in the months to come, why not 
let us enter your subscription now? 

One Year, $2.00; Two Years, $3.00 

Six Harrison Street 
New York, N. Y. 

Please enter my subscription to RADIO REVUE 

for years. I enclose Dollars in 

cash, check, currency to cover. 


Street Number 
P. O 


When it comes to the light operas, that is another story, 
so far as I am personally concerned. Every Sunday after- 
noon I listen religiously to the National Light Opera hour 
over WJZ. There may be better light opera directors than 
Harold Sanford and better comedians than Frank Moulan. 
If there are, I have in some way or other missed them. If 
I were asked to name my favorite composer, I would un- 
hesitatingly choose Victor Herbert. That gentleman, if 
you will excuse the seeming vulgarity, was fuller of music 
than a dog is of fleas. These grand opera addicts may 
swear by Verdi, Puccini, Bizet, Leoncavallo and many of 
those other foreigners but for real singable music there 
never was, and I fear there never will be, another like 
Herbert. I have heard nearly everything he ever wrote 
and I simply marvel at the wonderful and continuous 
flow of melody. And Harold Sanford knows how to bring 
out the best of them. 

Then again, I love the Gilbert and Sullivan operas, espe- 
cially The Mikado. I see WJZ is starting to revive some of 
them on the Light Opera Hour. I hope the station keeps 
it up and gives us all of them. What I cannot understand 
is why these broadcasts were cut down from an hour and 
a half to an hour. I could stand a couple of hours of 
them at a time. I believe that in this I am an Average 
Fan. I enjoy the religious services on Sunday afternoons 
thoroughly, but at the same time I would like to hear more 
of the light opera. I do not like to seem catty or mean 
but, as far as I am concerned, if the NBC would cut off 
about an hour of the Roxy symphony concert on Sunday 
and add it to the Light Opera Hour, it would greatly 
please this Average Fan and a host of other average fans 
whom I know in the metropolitan area. 

Radio in the Home 

{Continued from page 42) 

casting Company. 

I can give you many menus and special lists for enter- 
tainment-luncheons, and tell you how to make the table 
look attractive — which is, after all, an important factor. 

I welcome letters of inquiry from all my listeners. 
Before I close, let me give you something for the coming 
warm days, a Spring menu and a special Sunday night 
menu. I do this in response to innumerable requests. 


Spring Salad 

(Romaine, Tomato and Cucumber with French Dressing) 

Roast Lamb Mint Sauce New Potatoes Parsley Sauce 

Asparagus Drawn Butter Sauce Hot Dinner Rolls 

Strawberry Shortcake 

with Whipped Cream 



Tomato Rarebit on Crackers 


Shrimp Wiggle on Toast Points 

Watercress Salad 

Fig Cream Pie Coffee 


2 cups grated American 

2 tablespoons butter 
2 tablespoons flour 
Yn cup milk 

3 /i cup stewed, strained 

2 eggs, slightly beaten 
'/g teaspoon soda 
salt, mustard, cayenne 

Cook butter, flour and milk together. Add tomatoes, soda, 

eggs and seasoning. Stir in the cheese, and cook until it is 

melted and smooth. Serve at once on crackers or toast points. 

Serves four to six. 

£P>7 niaa uou miahi to read 

The Tragedy of Neglected Gums 

Cast of Characters : 
Your Dentist and You 

you: "My gums are responsible for this 
visit, doctor. I'm anxious about them." 

D.D.s.:"\Vhat's the matter?" 

you: "Well, sometimes they're tender when 
I brush my teeth. And once in a while they 
bleed a little. But my teeth seem to be all 
right. Just how serious is a thing like this!" 
D.D.s.:"Probably nothing to bother 
about, with a healthy mouth like 
yours. But, just the same, I've seen 
people with white and flawless teeth 
get into serious trouble with their 

you: "That' s what worries me. pyorrhea 
— gingivitis — trench mouth — all those hor- 
rible-sounding things'. Just a month ago a 
friend of mine had to have seven teeth 
fulled out. 

d.d.s.: "Yes, such things can happen. 
Not long ago a patient came to me 
with badly inflamed gums. I x-rayed 
them and found the infection had spread 
so far that eight teeth had to go. Some 
of them were perfectly sound teeth, 

you: ( After a pause) "I was reading a 
dentifrice advertisement . . . about food. 

d.d.s. : "Soft food? Yes, that's to blame 
for most of the trouble. You see, our 
gums get no exercise from the soft, 
creamy foods we eat. Circulation lags 
and weak spots develop on the gum 
walls. That's how these troubles begin. 
If you lived on rough, coarse fare your 
gums would hardly need attention." 

you: "But, doctor, leant take up a diet of 

73 West Street, New York, N. Y. 

Kindly send me a trial tube of IPANA TOOTH 
PASTE. Enclosed is a two-cent stamp to cover 
partly the cost of packing and mailing. 



City Stale 

C 1929 

raw roots and hardtack. People icould 
think I'd suddenly gone mad." 

d.d.s.: "No need to change your diet. 
But you can give your gums the stimu- 
lation they need. Massage or brush 
them twice a day when you brush 
your teeth. And one other suggestion: 
use Ipana Tooth Paste. It's a scientific, 
modern dentifrice, and it contains 
special ingredients that stimulate the 
gums and help prevent infection." 


jx imaginary dialog? An imaginary 
"you"? Admittedly, but the action is 
real. It is drawn from life — from real 
tragedies and near-tragedies enacted 
every day in every city of the land ! 

And if dentists recommend Ipana, as 
thousands of them do, it is because it is 
good for the gums as well as for the 
teeth. Under its continual use, the 
teeth are gleaming white, the gums 
firm and healthy. For Ipana contains 
ziratol, a recognized hemostatic and 
antiseptic well known to dentists for 
its tonic effects upon gum tissue. 

Don't wait for "pink tooth brush" 
to appear before you start with Ipana. 
The coupon brings you a sample which 
will quickly prove Ipana's . pleasant 
taste and cleaning power. 

But, to know all of Ipana's good ef- 
fects, it is far better to go to your near- 
est druggist and get a large tube. After 
you have used its hundred brushings 
vou will know its benefits to the health 
of your gums as w r ell as your teeth. 

Stark s Golden Delicious 

The Fruit That Made 

All New York 





Tested by 1,000,000 people in the Pennsylvania Railroad Station. 

Carton containing one dozen selected Golden Delicious Apples (which 
retail at $1.5 0) will be sent to each new subscriber who sends $2 for 
a year's subscription to the RADIO REVUE, along with this picture. 

—And you can't find a New 
Yorker "in a carload" who 
"gagged" on his slice of these 
wonderful yellow apples. 

The New York agent will 
have many more trainloads of 
these mouth-watering apples 
this Winter. Help him move 
them as well as help yourself to 
the finest apple that ever grew, 
by demanding Golden Delicious 
of fruit dealers wherever you 

Golden Delicious is the new 
yellow apple of Supreme size 
and Superior flavor and zest 
that was discovered and intro- 
duced by 

Stark Bro's Nurseries 



for Over 113 Years 


029 619 905 9